i  ^ 


JCXCHwlXij^ 


-^ 


LIBRARY 

OK  THi: 

University  of  California. 

RECEIVED    BY    EXCHANGE 


Class      ^ 


/' 


COLUMBIA  UNIVERSITY  STUDIES  IN  ENGLISH 


THE   RISE  OF   THE   NOVEL  OF 

MANNERS 


COLUMBIA 

UNIVERSITY  PRESS 

SALES  AGENTS 

NEW    YORK : 

LEMCKE  &  BUECHNER 
3C-32  West  27TH  Street 

LONDON  : 

HENRY  FROWDE 
Amen  Corner,  E.G. 

TORONTO  : 

HENRY  FROWDE 
25  Richmond  Street,  W. 


THE   RISE   OF   THE   NOVEL   OF 
MANNERS 


A  STUDY  OF  ENGLISH   PROSE  FICTION 
BETWEEN   1600  AND   1740 


BY 

CHARLOTTE  E.  MORGAN 


Submitted  in  Partial  Fulfilment  of  the  Requirements  for 

THE  Degree  of  Doctor  of  Philosophy,  in  the  Faculty 

OF  Philosophy,  Columbia  University 


NEW  YORK 
1911 


n 


Copyright,   191 1 
By  The  Columbia  University  Press 

Printed  from  type  July,  1911 


Press  or 

Tmi  new  era  printing  Cohpanv 

Lancaster.  Pa. 


This  Monograph  has  been  approved  by  the  Department  of  Eng- 
lish in  Columbia  University  as  a  contribution  to  knowledge  worthy 

of  publication. 

A.  H.  THORNDIKE, 

Secretary. 


228813 


TABLE   OF  CONTENTS 

Introduction   i 

Chapter  I 
Romance  and  Anti-Romance 3 

General  vogue  of  romances.  Chivalric — Classical — Arcadian — 
Euphuistic  —  Allegorical  and  Political  —  Heroic  —  Miscellaneous. 
Types    of   Anti-romances.      Comic — Picaresque — Narrative-Satires. 

Chapter  II 
The  Novel  ( 1600-1700) 50 

Definition — Novels  of  the  Cloak  and  Sword — Historical  Novels — 
Feigned  Histories,  Pseudo-Memoirs,  etc. — Novels  of  Contemporary 
Life — The  Portuguese  Letters — Mrs.  Behn — Mrs.  Manley. 

Chapter  III 
The  Novel  ( 1700-1740) 89 

The  Transition  in  Taste  and  Ideals  of  Conduct.  The  Social  Treat- 
ises. The  Duchess  of  Newcastle,  Mrs.  Rowe — Other  Contributory 
Forms :  The  "  Character,"  the  Dialogue,  the  Periodical. — The  Do- 
mestic History :  Mrs.  Haywood,  Mrs.  Barker,  Mrs.  Aubin,  Occa- 
sional and  Anonymous  Pieces — The  Oriental  Tale  and  Didactic 
Story. 

Chapter  IV 
The  Popular  Fiction 115 

General  Survey — John  Bunyan — Daniel  Defoe. 

Conclusion 
Conclusion    136 

Appendix  A 
Summary  of  Parthenissa 138 

Appendix  B 

Bibliography 143 

I.  Works  of  General  Reference, 
vii 


2.  Works  of  Special  Reference. 

3.  Sources  of  Bibliographical  Information. 

4.  A  list  of  Prose  Narratives  first  printed  in  English 

between  1600  and  1740. 

5.  A  list  of  the  most  important  Reprints. 

6.  A  List  of  Collections. 

7.  An  Alphabetical  List  of  the  More  Important  English 

Writers  between  1600  and  1740. 
Index  247 


PREFACE 

In  the  following  dissertation  two  objects  have  been  kept  in 
view;  first,  the  presentation  of  a  succinct  account  of  the  more 
important  t}^pes  of  prose  narrative  current  between  1600  and 
1740  with  special  reference  to  the  novel  of  manners ;  and 
second,  the  facilitation  of  further  studies  by  supplying  full  bib- 
liographical details.  To  accomplish  this  two-fold  purpose  only 
the  more  typical  and  influential  works  have  been  considered 
in  the  essay,  but  to  compensate  for  the  consequent  omissions, 
the  minor  works,  together  with  discussions  concerning  author- 
ship, translation,  sources,  chronology,  and  the  like,  have  been 
briefly  dealt  with  in  the  footnotes  and  in  the  bibliography. 
To  make  the  latter  of  the  greatest  practical  value  I  have 
endeavoured  to  cite  my  authority  for  every  title,  and  as  far  as 
possible  have  added  the  British  Museum  shelf  number. 
Neither  the  essay  nor  the  bibliography  makes  any  pretence  to 
completeness.  This  study  is,  so  to  speak,  but  a  clearing  of  the 
ground  in  a  field  where  little  has  been  done  and  much  remains 
to  be  accomplished. 

My  indebtedness  to  previous  studies,  such  as  the  general 
works  of  Dunlop,  Cross,  and  Raleigh,  and  to  the  numerous 
monographs  devoted  to  special  periods  and  topics  are  indicated 
in  the  notes  and  bibliography.  To  Professor  Joel  E.  Spingarn, 
of  Columbia  University,  I  am  indebted  for  information  bear- 
ing on  the  French  development  and  for  numerous  valuable 
suggestions.  My  thanks  are  also  due  to  Professor  John  W. 
Cunliffe,  of  the  University  of  Wisconsin,  for  his  kindness  in 
procuring  me  reading  privileges  in  the  Bodleian  Library ;  to 
Professor  Ashley  H.  Thorndike  and  Professor  William  W. 
Lawrence,  of  Columbia  University,  for  helpful  criticism,  and 
most  of  all  to  Professor  William  P.  Trent,  of  Columbia  Uni- 
versity, under  whose  kindly  guidance  this  study  has  been  made. 
I  desire,  also,  to  express  my  thanks  to  my  mother,  without 
whose  constant  encouragement  and  counsel  this  book  would 
never  have  been  written. 


THE   BEGINNINGS   OF  THE  NOVEL  OF  MAN- 
NERS IN  ENGLAND 


INTRODUCTORY 

The  English  prose  fiction  of  the  century  and  a  half  between 
the  publication  of  the  Euphues  and  the  Arcadia  and  the  ap- 
pearance of  Richardson's  Pamela,  exclusive  of  those  three 
masterpieces  Pilgrim's  Progress,  Robinson  Crusoe,  and  Gulli- 
ver's Travels,  possesses  scant  literary  merit  and  slight  general 
interest.  To  the  student,  however,  the  narratives  from  1600 
to  1740  are  not  devoid  of  value,  since  the  transition  in  con- 
tent, structure,  and  style  from  the  courtly  romances  and 
cynical  rogue  stories  to  the  idealistic  novel  of  manners  was 
largely  effected  through  the  numerous  translations  and  imi- 
tations of  works  of  foreign  fiction.  Together  with  the 
conduct-book,  the  drama,  and  the  periodical,  these  gradually 
moulded  the  taste  of  that  fiction-reading  public,  which,  by  its 
enthusiastic  reception  of  the  Richardsonian  stories  gave  such 
a  stimulus  to  the  rapid  development  of  the  novel  of  manners. 

A  chronological  list  of  about  five  hundred  prose  narratives 
printed  between  1600  and  1740,  compiled  from  the  Stationers' 
Register,  the  British  Museum  Catalogue,  and  other  sources 
will  be  found  in  the  bibliography.  For  purposes  of  discussion, 
however,  the  chronological  method  proved  so  cumbersome 
in  dealing  with  the  large  number  of  occasional  and  anony- 
mous works,  many  of  which  are  reprints  of  Elizabethan  pro- 
ductions and  the  majority  translations  or  close  imitations  of 
French  and  Spanish  narratives,  that  it  seemed  wiser  to  discuss 
in  the  text,  only  significant  and  prominent  examples  of  several 
loosely  defined  groups,  and  to  comment  in  the  bibliography 
very  briefly  upon  the  remainder. 

Before  we  proceed  to  any  classification,  a  distinction  must 
be  drawn  between  literary  and  popular  fiction.  The  former 
was  written  for  a  limited  aristocratic  public  by  authors  con- 
sciously conforming  to  recognized  canons,  in  order  to  attain 
2  1 


certain  artistic  ends.  The  latter,  i.  e.  popular  fiction,  was 
written,  regardless  of  rules,  to  catch  the  fancy  of  readers  at 
large.  In  the  seventeenth  century,  between  these  two  groups 
of  fiction,  the  aristocratic  and  the  plebeian,  there  was  little 
interrelation.  From  1625  or  earlier,  to  about  1700,  the  literary 
fiction  consisted  almost  exclusively  of  translations  and  imita- 
tions of  the  continental  narratives  which  were  in  vogue  at  the 
Stuart  courts.  The  popular  fiction  of  the  same  period  con- 
sisted to  a  very  large  extent  of  redactions  of  the  Elizabethan 
romances  and  of  journalistic  narratives  imbued  with  the  polit- 
ical and  religious  temper  of  the  time.  Out  of  the  latter  grew 
Pilgrim's  Progress  and  The  Life  and  Death  of  Mr.  Badman. 
Toward  the  very  close  of  the  century,  after  the  expulsion  of 
the  Stuarts  and  their  more  or  less  French  court,  a  change  took 
place  in  the  nature  of  the  reading  public: — the  limited  aris- 
tocracy on  the  one  hand,  and  the  plebeian  readers  on  the 
other,  combined  to  form  one  general  public  possessing  many 
interests  and  a  wide  range  of  taste.  This  most  significant 
change  was  brought  about  by  two  forces,  the  breaking  down 
of  the  patronage  system,  with  the  consequent  dependence  of 
authors  upon  the  public,  and  the  coincident  rise  of  the  commer- 
cial class.  The  influence  of  the  stolid,  practical,  self-satisfied 
merchants  and  manufacturers  is  shown  by  the  practical  moral- 
ity, the  choice  of  commonplace  themes,  and  the  emphasis  on 
prosaic  details.  All  of  these  features  are  prominent  in  the 
narratives  of  Defoe,  of  Richardson,  and,  though  to  a  less 
extent,  of  Swift.  To  Richardson,  however,  belongs  the  honor 
of  fusing  the  narrative  tradition,  as  it  was  handed  down 
through  the  romances,  with  that  which  came  through  the 
popular  fiction. 

Of  the  literary  fiction  there  are  three  prominent  types: 
the  romances,  the  anti-romances,  and  the  novels  or  brief  tales. 
The  popular  fiction,  generally  speaking,  had  no  literary  merit; 
and,  as  it  had  no  other  aim  than  immediate  success,  it  rarely 
possessed  more  than  ephemeral  interest,  so  that  on  the  whole 
it  may  be  regarded  as  a  negligible  factor.  The  writer  has, 
therefore,  considered  only  those  popular  productions  which 
in  a  measure  paved  the  way  for  Bunyan  and  Defoe,  or  contrib- 
uted directly  to  the  development  of  the  novel  of  manners. 


CHAPTER   I 

THE  ROMANCES 

The  romances  of  the  seventeenth  century  have  long  since 
fallen  into  oblivion;  yet  they  were  read  with  avidity  not 
merely  at  the  time  of  their  publication,  but  for  a  century  there- 
after. Works  so  enjoyed  by  successive  generations  could  not 
fail  to  exert  a  deep  influence  on  both  writers  and  readers  of 
the  Richardsonian  period.  In  thus  speaking  of  the  "  seven- 
teenth century  romances,"  we  must  not  infer  that  the  two  hun- 
dred and  more  narratives  which  are  grouped  under  this  head 
are  all  cut  after  one  pattern.  There  are,  in  addition  to  the 
anti-romances  and  miscellaneous  works,  at  least  seven  well  de- 
fined types  of  romance :  the  chivalric,  the  Arcadian,  the  Euphu- 
istic,  the  classical,  the  political,  the  allegorical,  and  the  heroic. 
Unfortunately,  so  few  English  romances  were  produced  during 
this  period,  and  these  few  were  such  servile  imitations  of  the 
continental  models,  that  the  evolution  of  the  form  can  be  traced 
only  in  a  general  way. 

The  Chivalric  Romances 

If  we  turn  to  the  chivalric  romances  of  the  Stuart  period 
expecting  some  such  charming  versions  of  the  old  Arthurian 
and  Carolingian  materials  as  those  of  Malory  and  Lord  Ber- 
ners,  a  bitter  disappointment  awaits  us,  Arthur  and  the  Round 
Table,  Launcelot  and  Guinivere,  Tristram  and  Iseult,  together 
with  Charlemagne  and  his  paladins  were  no  longer  favorite 
themes.  During  the  hundred  and  forty  years  from  1600  to 
1740,  Arthurian  romances  seem  to  have  appeared  only  three 
times,  in  1625,1  1634,  and  1700;  the  Morte  Darthur  after  the 

^The  most  ancient  and  famous  History  of  the  renowned  Prince  Arthur, 

King  of  Britain.     Nc-vly  Refined,   1625.     Reprinted   1634.     From  this  was 

probably  made  the  chapbook  Great  Britain's  Glory,  being  the  History  of  King 

Arthur   [1700?].     These  may  have  been  revisions  of  Lord  Berners'  King 

3 


edition  of  1634'*  was  not  reprinted  until  1817,  and  the  History 
of  the  most  noble  .  .  .  knight,  Arthur  of  Lytcll  Brytaine  by 
Lord  Berners  was  not  reprinted,  at  least  in  its  original  form, 
until  1812.  The  only  fresh  endeavor  to  deal,  in  narrative 
form,  with  the  Arthurian  material^  is  to  be  found  in  the  little 
known  epics*  of  Sir  Richard  Blackmore.  Less  aristocratic 
heroes,  such  as  Guy  of  Warwick,  Bevis  of  Hampton,  and  their 
like,  were  not  so  completely  eclipsed  in  popular  esteem  by 
heroes  of  more  recent  date.  Even  after  the  Restoration  such 
hack  writers  as  Nathaniel  Crouch,**  and  Francis  Kirkman 
re-worked  the  old  material,  added  new  wonders  and  heightened 
the  extravagant  style,  producing  degenerate  versions  of  Huon 
of  Bordeaux,  Paris  and  Vienne,  Valentine  and  Orson,  and 
the  other  good  old  stories,  or  concocting  new  ones  such  as 
Tom  of  Lincoln,^  and  The  Seven  Champions  of  Christen- 
dom. The  crude  language,  wretched  print,  and  general  inferi- 
ority of  the  editions  justify  us  in  dismissing  them  as  chap- 
books.    In  passing,  it  is  interesting  to  note  that  though  rough 

Arthur,  but  there  is  no  record  of  an  edition  of  this  work  in  the  seventeenth 
century.  His  Huon  of  Bordeaux  was  reprinted  in  1601,  and  was  probably 
the  basis  of  the  seventeenth  century  chapbooks  dealing  with  that  hero. 
Utterson  edited  Berners's  romances  in  1812.  Cf.  the  article  on  "John 
Bourchier  "  by  Sidney  Lee  in  the  D.  N.  B. 

-  A  reprint  of  the  edition  of  Wynkin  de  Worde  by  Stansby, 
'  There  were,  however,  plays  drawn  from  the  Arthurian  material,  as  for 
example,  Dryden's  King  Arthur,  or  the  British  Worthy,  1691. 

*  Prince  Arthur  in  1695  and  King  Arthur  in  1697. 

**  He  took  the  pseudonym  of  Burton,  but  whether  Richard  or  Robert  is  un- 
certain, and  flourished  between  1632?  and  1725?.  He  was  a  most  prolific 
writer,  forty-five  items  being  attributed  to  him  in  the  D.  N.  B.  These 
include  religious  pieces,  such  as  Two  Journies  to  Jerusalem,  accounts  of 
explorations,  such  as  The  English  Acquisitions  in  Guinea  and  the  East 
Indies  (based  on  Godwin's  Man  in  the  Moon),  and  popular  histories,  suck 
as  Jane  Shore  and  the  romances.  Dunton  wrote  of  him,  "  I  think  I  have' 
given  you  the  very  soul  of  his  character  when  I  have  told  you  that  his' 
talent  lies  at  collection.  He  has  melted  down  the  best  of  our  English 
histories  into  twelvepenny  books  which  are  filled  with  wonders,  rarities, 
and  curiosities."  See  the  article  on  "Burton  (Richard  or  Robert)"  by 
W.  E.  A.  Axon  in  the  D.  N.  B. 

*  The  title  page  of  this  work  gives  an  excellent  idea  of  the  later  chivalric 
romances.     Cf.   Bibliography,   under    1605. 


in  style  and  devoid  of  literary  merit,  they  usually  possess  the 
virtues  of  clarity  and  brevity,  so  conspicuously  absent  in  more 
literary  productions. 

The  chivalric  romances  which  really  concern  us  are  the 
Spanish  cycles  of  Amadis,  Palmeryn,  and  Belianis,  which 
made  their  way  into  England  by  way  of  France  late  in  the 
sixteenth  century.^^  The  first,  The  most  excellent  and  plaisante 
Booke,  intituled  Trcasxirie  of  Amadis  of  Gaule  was  entered 
for  Henry  Bynnerman  in  1567,  and  under  slightly  varying 
titles,  appeared  again  in  1596,  1619,  1664,  and  1694,  in  addition 
to  several  metrical  versions.  Amadis  was  perhaps  the  most 
popular  of  the  Spanish  romances,  but  many  others  were 
in  high  favor.  Palmeryn  d'Olivia  translated  by  Munday  in 
1586,  was  reprinted  in  1615  and  again  in  1669;  Palmeryn  of 
England,  another  of  Munday 's  translations,  appeared  in  1587, 
and  was  reprinted  four  times  during  the  ensuing  century;® 
Don  Belianis,  or  the  Honour  of  Chivalry  first  appeared  in 
1598  and  had  run  through  at  least  nine  editions  by  1700.  In 
general  plan,  these  romances  resemble  the  older  ones ;  the  story 
is  the  career  of  the  ideal  hero  from  the  cradle  to  the  grave — 
his  feats  in  war,  his  prowess  against  the  powers  of  darkness, 
and  his  adventures  in  love.  They  differ  from  the  Arthurian 
and  Carolingian  cycles  in  having  a  more  complicated  plot,  a 
more  sophisticated  hero,  an  elaborate  code  of  etiquette,  and 
a  larger  element  of  the  supernatural  and  of  the  sentimental. 
The  method  of  narration  is  simple  and  direct,  that  is  to  say, 
epic;  there  is  not,  as  in  the  classical  romances,  an  attempt  to 
"  account  for  the  story  "  by  means  of  a  framework. 

The  Enghsh  made  a  few  feeble  attempts^  to  write  similar 

"•  Interesting  in  this  connection,  is  a  note  in  Appleton's  edition  of  Don 
Quixote,  according  to  which,  "  it  was  a  common  device  for  authors  of  such 
romances  to  claim  that  their  books  were  translated  from  the  English."  P. 
26  n.  on  Historia  del  famoso  caballero  Tirante  el  Blanco  (1460). 

"In  1616,  1638-39,  1664,  1690. 

^  Such  seem  to  be  The  most  Famous  and  Delightful  History  of  the  Greene 
Knight  and  the  most  Beautiful  Princess  Beroshia  and  the  Heroical  Adven- 
ture of  the  Knight  of  the  Sea,  the  latter  of  which  is  described  as  "  ludicrously 
overdone  "  by  J.  P.  Collier,  Bibl.  and  Crit.  Account  of  the  Rarest  Books 
in  the  Eng.  Lang.,  ii.  217. 


6 

romances,  but  the  only  native  works  to  acquire  any  fame  are 
three  narratives*  by  Emanuel  Ford.  M.  Jusserand"  classes 
Ford  as  a  follower  of  Sidney,  and  the  use  of  such  devices  as 
infant  exposure,  shipwrecks,  slavery,  oracles,  and  pastoral  set- 
ting indicate  a  superficial  familiarity  with  the  Arcadia  and  the 
Greek  romances,  but  on  the  whole,  The  History  of  Ornatus  and 
Artcsia,  the  History  of  Parismus,  the  Renozmied  Prince  of 
Bohemia  and  the  History  of  Montelion,  Knight  of  the  Oracle 
are  a  combination  of  the  early  sentimental  stories  and  the 
chivalric  romances.  The  number  of  editions  is  a  striking  proof 
of  their  popularity.  Ornatus,  published  in  1598,  reached  its  sev- 
enth edition  in  1683 ;  Parismus  also  printed  in  1598,  reached  its 
thirteenth  edition  in  1649,  its  twenty-fourth  in  1699,  and  went 
through  numerous  cheap  editions  in  the  eighteenth  century. 
Montelion  seems  to  have  made  its  first  appearance  in  1633, 
yet  it  reached  its  seventeenth  edition  in  1724,  and  served  to 
give  added  point  to  a  satire^^  which  appeared  about  the  middle 
of  the  seventeenth  century. 

Assuming  the  name  of  "  Montelion,  Knight  of  the  Oracle," 
an  anonymous  royalist^*'*  sent  forth  a  delightful  burlesque  com- 
bined with  a  clever  religious  and  political  satire.  The  oppor- 
tunity to  satirize  contemporary  affairs  was  afforded  by  the 
"life"  of  Don  Juan  Lamberto,  "beginning  with  his  birth, 
education  and  valiant  deeds  and  carrying  him  through  the  Civil 
War,  including  his  defeat  of  the  forty  tyrants  and  his  jesting 
with  the  Baron  of  Sussex."     Part  two  narrates  "  How  Crom- 

'  The  most  pleasant  History  of  Ornatus  and  Artesia,  1598.  Of  the  famous 
and  pleasant  Historie  of  Parismus,  Prince  of  Bohemia,  1598.  The  Famous 
History  of  Montelion,  Knight  of  the  Oracle,  1633. 

'Jusserand,  The  English  Novel  in  the  Time  of  Shakspeare,  pp.  192-198. 
Full  titles  of  the  books  referred  to  in  the  text,  together  with  the  place  and 
date  of  publication,  will  be  found  in  the  bibliography. 

'"'Don  Juan  Lamberto;  or,  a  Comical  History  of  the  Late  Times.  The 
First  Part,  By  Montelion,  Knight  of  the  Oracle.  The  Second  Part,  1661. 
The  B.  M.  copy  contains  both  parts.  There  is  a  note  in  it  suggesting 
that  Part  I.  was  originally  published  c.  1657  and  that  it  was  re-issued  with 
the  second  part  in  1661. 

""  This  work  is  sometimes  attributed  to  John  Phillips,  who  certainly 
wrote  Montelion,  1660;  or  the  Prophetical  Almanack,  but  Sidney  Lee  in 
the  D.  N.  B,  assigns  it  to  Thomas  Flatman, 


well,  Soldan  of  Britain  dyed,  and  what  befel  his  son  the  Meek 
Knight.  The  Birth  of  Sir  Harry  Vane,  Knight  of  the  Most 
Mystical  Allegories  and  how  he  was  honoured  by  the  Priests 
of  the  Temple  of  Blind  Zeal "  and  disgracefully  overthrown  at 
the  Restoration. 

This  is,  indeed,  a  most  summary  account  of  the  chivalric 
romances,  but  it  is  hoped  that  from  it  the  reader  will  have 
gathered  some  idea  of  the  salient  features  of  this  influential 
type  of  fiction.  The  numerous  allusions  in  plays,  essays, 
poetry,  and  fiction  show  that  for  two  centuries  at  least,  the 
names  of  Palmeryn  and  Amadis,  of  Parismus  and  Montelion, 
were  as  familiar  and  suggestive  as  Don  Quixote  and  Robinson 
Crusoe  are  to-day.  Moreover,  it  is  largely  to  these  romances 
that  the  early  novel  is  indebted  for  its  conception  of  the  nar- 
rative as  the  direct  chronicle  of  "the  whole  life  and  principal 
adventures  "  of  the  hero. 

The  Classical  Romances 

The  classical  romances,  as  the  term  was  understood  in  the 
seventeenth  century,^^  signified  not  only  Greek  and  Roman 
prose  fiction,  but  also  poetical  narratives  like  those  of  Ovid, 
and  books  of  travel,  natural  science  and  history,  such 
as  those  of  Herodotus,  Pliny,  Ctesias,  and  Plutarch.  The 
poetry,  travels  and  history  may  at  once  be  eliminated,  for 
though  they  contributed  much  material  and  many  devices,  they 
are  not  in  the  main  line  of  development.  The  fiction,  proper, 
speaking  very  generally,  comprised  short  tales  of  the  Milesian 
order,  Barlaam  and  Josaphat,  Apollonins  of  Tyre,  two  real- 
istic and  satirical  narratives  written  during  the  Roman  Empire, 
and  the  erotic  Greek  romances.^- 

The  original  collections  of  Milesian  and  similar  tales  have 
been  lost  but  many  individual  stories  have  survived.^^  They 
were  short  tales  of  intrigue,  usually  immoral,  often  indecent, 

"  Cf.  p.  D.  Huet,  De  L'Origine  des  Romans,  Lettre  a  M.  Segrais,  in 
Huetiana  (Ana,  vol.  vii.). 

"J.  C.  Dunlop,  History  of  Prose  Fiction,  ed.  Wilson,  i.  1-115,  ii-  246  sq. 

"  In  summaries  of  Parthinius  and  Photius  for  example.  See  Rohde,  Der 
Griechische  Roman,  p.  114. 


more  or  less  satirical,  and  generally  clever.  Incorporated  in 
various  forms  in  the  literatures  of  Greece  and  Rome,  they  were 
familiar  to  the  scholars  of  the  Middle  Ages,  and  are  thought 
to  be  the  source,  though  perhaps  not  directly,  of  many  of  the 
fabliaux  of  the  Oriental  type.  During  the  Renaissance,  they 
were  revised  by  writers  of  novelle  such  as  Boccaccio,  Bandello, 
and  Sacchetti,  and  thus  were  made  familiar  in  Elizabethan 
England.  With  the  new  century,  the  taste  for  the  romantic, 
the  aristocratic,  and  the  refined  predominated,  and  these  short 
stories  gave  way  before  the  long  romance.  The  Restoration 
brought  the  realistic  tale  into  favor  again,  and  we  find  the  old 
Greek  stories  with  their  Italian  modifications  filling  collections 
such  as  The  Delightful  Novels  (1686),  and  A  Banquet  for 
Gentlemen  and  Ladies  (1703).  They  never,  however,  regained 
their  old  prestige,  for  the  new  realistic  story,  imported  directly 
from  France,  was  not  merely  a  hard  and  fast  intrigue,  but  a 
careful  study  from  contemporary  life. 

Barlaam  and  Josaphaf^*  and  Apolloniiis  of  Tyre  had  long 
been  familiar  to  readers,  but  so  far  as  the  narrative  is  con- 
cerned, are  of  little  importance  in  the  seventeenth  century. 
The  former,  during  the  period  with  which  we  are  concerned, 
was  reprinted  only  in  cheap  and  abbreviated  editions. ^^  Dun- 
lop  remarks  that  "  it  was  undoubtedly  the  model  of  that  species 
of  spiritual  fiction  so  prevalent  in  France  during  the  sixteenth 
and  seventeenth  centuries  " ;  but  so  far  as  the  writer  knows, 
there  are  no  English  works  modelled  upon  it.  Biographical 
accounts  of  saints  were  not  much  in  demand  in  Protestant 
England ;  in  fact,  a  rather  tame  version  of  the  life  of  St.  Theo- 
dora^^  (1687),  by  Robert  Boyle,  seems  to  be  the  solitary 
example.     The    Apolloniiis    was    extremely    popular    in    the 

^*  The  original,  written  in  the  eighth  century,  by  John  of  Damascene  is  a 
Christianized  version  of  an  Oriental  story.  Among  its  many  interspersed 
episodes  is  the  casket  story  used  by  Shakspere ;  cf.  Dunlop,  i.  76. 

"In  1669,  it  was  reprinted  and  bound  with  a  moralized  version  of  Pan- 
dosto,  and  in  1711  printed  as  The  History  of  the  five  wise  philosophers;  or, 
the  wonderful  relation  of  the  life  of  Jchosophat,  the  hermit  son  of  Averarian, 
etc. 

"  The  Martyrdom  of  Theodora  and  Didymous,  By  a  Person  of  Honour 
(Robert  Boyle). 


9 

Middle  Ages  and  to  some  extent  in  the  Renaissance,  but  after 
that,  it  was  seldom  printed.  It  appeared  in  an  Anglo-Saxon 
fragment,  in  the  Gcsta  Romanorum,  in  the  Confcsso  Amantis 
of  Gower,  in  a  reprint  by  Wynkin  de  Worde,  in  Twyne's 
Pattcrne  of  PainefuU  Adventures  (1576),  and  finally  was 
dramatized  by  Shakespere  in  Pericles. 

The  two  examples  of  Latin  fiction  are  the  Golden  Ass  of 
Lucius  Apuleius  and  the  fragments  of  the  Satyricon  of 
Petronius  Arbiter.  The  former,  based  on  an  earlier  Greek 
work,  relates  in  satirical  vein  the  supposed  adventures  of  its 
author  when  metamorphosed  into  an  ass.  It  was  very  popular 
in  England,  if  the  number  of  editions  is  any  criterion.  The 
first  translation  by  William  Adlington  appeared  in  1566,  and 
was  re-printed  in  1571,  1581,  1596,  1600,  and  1639.  The  epi- 
sode of  Cupid  and  Psyche  was  particularly  admired  and  often 
utilized  for  plays  and  poems.^^  As  a  whole,  or  as  a  prose  nar- 
rative, The  Ass  was  not  imitated  until  the  end  of  the  century, 
when  it  furnished  a  model  for  travels  of  inanimate  objects, 
and  encouraged  the  use  of  fictitious  travels  for  satirical  pur- 
poses. The  work  of  Petronius,^ ^  which  purports  to  be  a 
satirical  account  of  the  corrupt  life  at  the  court  of  Nero,  was 
less  generally  known,  partly  on  account  of  its  fragmentary 
form  and  partly  because  of  its  scandalous  character.  There 
seems  to  be  no  English  translation  before  1663.  That  was 
reprinted  in  1677  and  1743.  A  version  by  Thomas  Brown 
of  Shropshire  came  out  in  1708,  and  a  few  years  later,  in  1736, 
still  another  translation  was  made  by  John  Addison.  The 
direct  influence  of  Petronius  is  seen  in  the  elegant  neo-classic 
satires  with  which  pedants  of  the  Renaissance  amused  them- 
selves, as  for  example,  the  now  forgotten  Misoponeri  Satyri- 

"  Gosson,  writing  in  1 579,  condemns  such  a  piece  "  lately  played  at  Paules  " ; 
Hazlitt  mentions  a  poem,  Cupid's  Courtship;  and  Shakerley  Marmion  pro- 
duced, in  1637,  a  Morall  Poem  intituled  the  Legend  of  Cupid  and  Psyche; 
cf.  Dunlop,  i.  113,  n. 

"  Petronius ;  a  Study  in  Ancient  Realism,  by  F.  F.  Abbott,  Sezi-ance  Revie'w, 
1899,  vii.  435-43- 

H,  T.  Peck,  Trimalchio's  Dinner  from  the  Satyricon  of  Petronius, 


10 

co».'"  the  Comus'°  of  rutcanus  and  the  Pantaleonis  Vaticinidr^ 
of  James  Hume.  Precisely  what  relation  the  Satyricon  bears 
to  later  fiction  is  exceedingly  difficult  to  determine.  In  its 
biographical  structure,  interspersion  of  stories,  and  realism  of 
presentation,  it  resembles  the  picaresque  narratives,  and  no 
doubt  the  writers  borrowed  episodes  and  devices,  but  I  suspect 
that  their  indebtedness  does  not  extend  beyond  matters  of  de- 
tail. Likewise,  the  indebtedness  of  the  popular  court  memoirs 
and  similar  narratives  to  the  Satyricon  is  still  a  matter  for  conjec- 
ture, but  it  is  doubtful  if  it  was  greater  than  the  supplying 
of  a  vague  classical  sanction  to  the  shameless  accounts  of 
court  scandal. 

All  the  classical  fiction  we  have  so  far  considered  was  quite 
overshadowed  by  the  Greek  erotic  tales--  to  which  the  seven- 

"  Misoponeri  Satyricon  cum  notis  aliquot  ad  ohscuriora  prosae  loca,  et 
Graecorum  interpretatione.    Lugduni  Batavorum,  1617. 

'^ Eryci  Puteani  Comus  sive  Phagesiposia  Cimmeria.  S omnium ;  Lovanii, 
1608,  1611.  Reprinted  at  Oxford,  1634.  This  work  furnished  Milton  with 
a  hint  for  his  masque.  Cf.  Immanuel  Schmidt,  Milton's  jtigendjahre  und 
jugendwerke,  Sammlung  gemeinverstandlicher  .  .  .  Vortrdge,  new  series, 
V,  xi,  no.  243.     Hamburg,  1896. 

°-  Pantaleonis  Vaticinia,  Satyra,  Jacoho  Hnmio,  Rathomagi,  1633.  For  an 
account  of  these  books,  see  Begley's  edition  of  Nova  Solyma,  ii.,  pp. 
385-87. 

^  For  a  discussion  of  these  works  see :  E.  Rohde,  Der  Griechische  Roman 
und  seine  Vorldufer,  C.  J.  Goodwin,  Romance  Writing  among  the  Greeks. 
Sewanee  Review,  1897,  v.  290  ff.,  409  flf.,  M.  Oeftering,  Heliodor  und 
seine  Bedeutung  fiir  die  Litteratur,  F.  M.  Warren,  History  of  the  Novel 
prior  to  the  Seventeenth  Century,  and  P.  D.  Huet,  De  L'Origine  des  Ro- 
mans, Huetiana  (Ana.,  Vol.  VIII.). 

Scholars  still  disagree  as  to  the  precise  dates,  sequence  and  origin  of  these 
romances,  but  the  majority  agree  with  Rohde  that  they  were  written  in  con- 
siderable numbers  by  the  Sophists  of  the  third  and  fourth  centuries  A.  D., 
and  were  a  natural  evolution  from  the  erotic  stories  of  the  Greek  poets,  the 
ethnographic  Utopias,  pseudo-histories,  travels,  fables,  and  Milesian  tales. 

The  principal  romances  are :  Of  the  Incredible  Things  in  Thule,  or,  Dinias 
and  Dercyllis,  by  Diogenes ;  the  Babylonica,  by  lamblichus ;  the  Ethiopian 
History  of  Theagenes  and  Chariclea,  by  Heliodorus  ;  Leucippe  and  Clitophon, 
by  Achilles  Tatius ;  Daphnis  and  Chloe,  by  Longus  ;  Habrocomas  and  Anthia, 
by  Xenophon  of  Ephesus;  and  Hysmene  and  Hysmenias,  by  Eustathius  or 
Eumathius.  The  last  is  much  later  than  the  others,  not  having  been  written 
until  the  twelfth  century.  Heliodorus,  Tatius,  and  Longus  are  translated 
by  R.  Smith  in  the  Bohn  Library.  All  references  are  to  this  translation 
in  the  edition  of  1906. 


11 

teenth  century  romances  are  largely  indebted.  Comparatively 
few  of  the  Greek  narratives  have  come  down  to  us  in  their 
entirety,  but  there  are  fragments  of  others  embodied  in  the 
summaries  of  Photius  and  Suidas.  Practically  all  with  which 
we  are  familiar  to-day  were  current  in  the  seventeenth  cen- 
tury, for  they  are  mentioned  by  Bishop  Huet.  Only  three, 
The  Ethiopian  History  of  Heliodorus,"  the  Leiicippe  and 
Clitophon^*  of  Achilles  Tatius,  and  the  Daphnis  and  Chloe  of 
Longus  were  translated  into  English,  but  as  French  and  Latin 
were  familiar  to  the  educated  there  is  no  reason  to  suppose  the 
remaining  romances  were  not  almost  as  well  known.  The 
Daphnis  and  Chloe"^  is  unique  in  being  a  simple  pastoral,  quite 
free  from  the  absurd  adventures  and  marvels  of  the  Helio- 
dorian  romances.  It  is  the  most  artistically  perfect,  yet,  al- 
though several  times  translated  and  frequently  alluded  to,  it 
failed  to  stimulate  imitation  until  the  time  of  Rousseau,  when 
the  taste  for  exotic  naturalism  gave  it  a  tremendous  vogue.-' 
The  famous  Ethiopian  History  by  Heliodorus,  of  which 
Bishop  Huet  wrote  so  enthusiastically,  served  as  the  pattern 
for  the  other  Greek  romances.  The  general  theme  is  aptly 
described  by  Rohde,-'  "  a  couple  of  lovers  fly  before  their 
pursuers  from  land  to  land,  amid  a  gloomy  alternation  of  mis- 
fortune, imminent  ruin  is  averted  at  the  last  moment,  and 
virtue  obtains  its  triumph  and  reward  in  plenary  happiness." 
The  setting  is  sometimes  an  indefinite  historical  era,  but  there 
is  no  attempt  to  depict  historical  personages,  to  describe  accu- 
rately old  customs,  or  to  reproduce  the  atmosphere  of  a  past 
age.  The  characters — and  this  is  true  of  all  the  romances — 
are    for   the   most   part   uninteresting   puppets,    submissively 

**  The  date  of  the  original  translation  by  Underdowne  is  uncertain.  It  was 
entered  on  the  S.  R.  for  Coldock  in  1569,  but  the  earliest  dated  edition  is 
that  of  1587.     The  undated  copy  in  the  Bodleian  is  presumably  older. 

^  Hazlitt  mentions  an  edition  of  1598,  but  the  better  known  translation  is 
that  by  James  Hodges  in  1638. 

^Translated  in  1598  by  Angell  Day  and  again,  in  1657,  as  "  a  sweet  pas- 
toral for  young  ladies." 

*'Cf.  W.  W.  Gregg,  Pastoral  Poetry  and  Pastoral  Drama,  p.  12. 

^Quoted  by  Dunlop,  i.  15.  His  reference  is  to  the  German  edition  of 
Rohde,  p.  378. 


12 

enduring  all  the  whims  of  fate.  The  heroine-^  alone  seems  to 
have  any  initiative  and  our  interest  in  her  is  aroused  more  by 
the  unusual  phenomenon  of  feminine  leadership  than  by  the 
charm  or  strength  of  her  personality.  The  attention  centers 
around  the  series  of  episodes  and  scenes  through  which  the 
characters  pass.  In  the  sequence  of  these  episodes  no  effort 
is  made  to  develop  a  central  theme.  The  only  attempt  to  give 
even  the  semblance  of  unity  consists  in  having  the  final  result 
work  out  the  fulfillment  of  an  oracle,  and  in  having  dreams  and 
visions  prepare  the  way  for  lesser  episodes.  The  desire  is  to 
accomplish  the  result  in  a  manner  most  surprising  to  the  reader. 
Surprise  and  suspense  are  two  of  the  most  striking  qualities 
of  the  Greek  romances,  and  writers  and  critics  of  the  seven- 
teenth century  insisted  upon  them  as  indispensable  in  a  good 
romance. 

The  structure,  awkward  enough  in  any  case,  was  further  ham- 
pered, either  by  putting  the  story  in  the  mouth  of  a  third  person 
who  figures  in  a  sub-plot,  or  by  letting  the  hero  describe  his 
own  adventures  after  they  have  taken  place.  Thus  the  point 
of  view  is  that  of  an  onlooker  rather  than  that  of  a  participant, 
or  in  other  words,  is  indirect,  passive,  and  reflective,  instead  of 
being,  as  in  the  chivalric  romances,  direct  and  active.  This 
reflective  point  of  view  characterizes  not  only  all  the  seven- 
teenth century  romances  but  also  the  novels  of  Richardson 
and  the  narratives  of  Defoe.  The  indirect  method  of  narra- 
tion led  to  the  abrupt  opening  in  the  midst  of  things,  for  the 
supposed  narrator  took  up  the  thread  where  the  hero  or  hero- 
ine crossed  his  path,  and  worked  both  forward  and  backward, 
incidentally  rambling  of¥  into  his  own  afifairs  and  the  life- 
histories  of  all  chance  acquaintances.  This  method,  also,  the 
seventeenth  century  servilely  copied — we  find  La  Calprenede 
and  his  contemporaries  rivalling  Heliodorus  in  the  "  art  of 
holding  the  suspense "  by  introducing  a  new  story  at  every 
crisis.  The  action  was  still  further  complicated  by  disqui- 
sitions on  love  not  unlike  the  love  dubbii,-^  by  resounding 

^  We  meet  the  type  in  the  Elizabethan  drama,  notably  in  the  comedies  and 
tragi-comedies,  for  instance,  Shakspere's  Rosalind,  Beatrice,  Portia,  but 
seldom  in  the  fiction. 

^  Particularly  in  the  Lencippe  and  Clitophon.     See  pp.  354,  363,  375. 


13 

hortatory  passages  both  in  and  out  of  season,  and  by  long 
descriptions  of  so-called  natural  scenery.  We  are  never  left 
in  doubt  as  to  the  precise  appearance  of  the  sympathetic  rocks 
and  trees  to  which  the  unfortunate  characters  confided  their 
woes.  The  style,  ornate  in  the  extreme,  well  suited  the  matter. 
The  carefully  wrought  descriptions,  the  appropriate  phrasing 
of  sentiments,  and  the  "elegance"  of  the  diction  rivalled  the 
subject-matter  in  holding  the  attention.  In  the  peculiar  bal- 
ance and  antithesis,  in  the  far-fetched  figures,  in  the  "  un- 
natural natural  history,"  in  the  subtle  playing  on  words,  we  see 
the  model  of  the  Euphuism  of  the  Elizabethans,  and  of  the  pre- 
ciosity of  the  seventeenth  century. 

The  widespread  popularity  of  these  romances  can  scarcely 
be  gauged  by  the  number  of  editions,  but  the  fact  that  Helio- 
dorus^°  ran  through  ten  editions  in  English  between  1587  and 
1700  is  at  least  suggestive.  We  find,  too,  that  the  dramatists 
ransacked  these  romances  for  episodes  and  situations.^^  More 
directly  they  furnished  material  for  such  a  play  as  Cough's 
Strange  Discovery  (1640),  founded  on  Heliodorus,  and  Settle's 
Fatal  Love  (1680),  drawn  from  Leucippe  and  Clitophon. 
Their  vogue  is  to  be  explained  on  the  ground  that  they  satis- 
fied the  taste  of  the  time  for  the  theatrical,  the  complex,  the 
marvellous,  the  sentimental,  and,  to  a  certain  extent,  for  the 
morbid.  They  were  the  product  of  a  sophisticated  and  deca- 
dent civilization,  but  they  possessed  the  superficial  effectiveness, 
the  fatalism,  and  the  word-painting  with  which  to  capture  the 
fancy  of  the  imaginative,  sensation-loving  Elizabethans.  And 
at  the  same  time,  they  were  characterized  by  an  over-refine- 
ment and  unreality  which  appealed  strongly  to  European 
society  at  the  close  of  the  Renaissance,  when  men  were 
once  more  looking  backward  rather  than  forward,  for  re- 
finement rather  than  strength,  and  seeking  to  escape  from, 
rather  than  to  cope  with,  the  hard  facts  of  reality.    The  influ- 

*"  Cf.  Oeftering,  Heliodor  und  seine  Bedeutung  fur  die  Littcratur. 

"  It  is  hardly  necessary  to  mention  the  devices  of  infant  exposure,  the 
fulfilling  of  an  oracle,  sleeping  potions,  shipwreck,  mistaken  identity,  and  the 
like,  which  figure  so  prominently  in  the  romantic  comedies  of  Shakspere, 
Beaumont  and  Fletcher,  and  their  contemporaries. 


<4 

14 

ence  of  the  Greek  erotic  romances  cannot  be  over-emphasized. 
They  were  an  incentive  to  the  cultivation  of  the  sentimental 
and  artificial  in  all  phases  of  life  and  literature,  and  at  the 
same  time  they  served  as  models  in  structure,  style,  content, 
and  spirit,  for  those  seventeenth  century  romances  which  imme- 
diately preceded  the  novel  of  manners.  As  Mrs.  Barbauld^- 
suggcstively  commented  in  discussing  Richardson's  predeces- 
sors: "If  we  were  to  search  among  the  treasures  of  ancient 
literature  for  fiction  similar  to  the  modern  novel,  we  should 
find  none  more  closely  resembling  it  than  '  Theagenes  and 
Chariclea.' " 

The  Arcadian  Romances^^ 

Among  the  most  popular  of  seventeenth  century  romances 
was  the  Arcadia  of  Sir  Philip  Sidney,  which,  though  first 
printed  in  1590,  was  so  widely  read  in  our  period  that  it  very 
properly  calls  for  some  consideration.  In  this  work  Sidney 
combined  the  chivalric  and  Greek  narratives  in  a  manner 
highly  suggestive  of  the  heroic  romances.  To  put  it  briefly; 
he  was  indebted  to  the  Amadis  cycle  for  episodes,^*  and  to 
Heliodorus,  Montemayor,  and  Sannazaro  for  the  design,  a 
semi-pastoral  in  which  courtiers  and  ladies-in-waiting,  posing 
as  shepherds  and  shepherdesses,  figure  in  endless  love  scenes 
interspersed  by  duels,  battles,  and  shipwrecks.  Looking 
toward  the  later  development,  we  note  three  significant  fea- 
tures in  the  Arcadia:  first,  the  shifting  of  the  interest  for- 
ward from  the  adventures  ensuing  on  the  elopement,  as  in  the 
Greek  romances,  to  those  concerned  with  the  wooing  of  the 
heroine;  secondly,  the  idealizing  of  the  characters  to  make 
them  represent  the  "  perfect  courtier  "  and  the  "  perfect  lady  " ; 
and  thirdly,  the  mingling  of  the  Greek  indirect  method  of 

^  The  Correspondence  of  Samuel  Richardson.  A  Biographical  Account, 
by  Anna  Laetitia  Barbauld.     London,  1804,  i.  xi. 

^' For  a  detailed  discussion  see:  The  Countess  of  Pembroke's  Arcadia,  ed. 
H.  O.  Sommer,  K.  Brunhuber,  Die  Arcadia  und  ihre  Nachldufer,  S.  M. 
Davis,  Life  and  Times  of  Sir  Philip  Sidney,  which  contains  a  full  summary 
of  the  Arcadia,  and  W.  W.  Gregg,  Pastoral  Poetry  and  Pastoral  Drama, 
pp.  142-154- 

"Sidney's  indebtedness  to  Bk.  11  of  Herberay  des  Essarts's  translation  of 
the  Amadis  has  been  pointed  out  by  Brunhuber  and  by  W.  V.  Moody.  See 
also  a  note  in  Upham,  The  French  Influence  in  English  Literature,  p.  50. 


15 

narration  and  its  accompanying  sentimental  and  reflective  point 
of  view  with  the  direct  method  of  the  romances  of  chivalry. 
Yet  it  must  not  be  inferred  that  the  Arcadia  is  a  mere  con- 
glomeration. It  is  decidedly  the  best  romance  we  shall  have 
to  consider,  a  masterpiece  of  its  kind,  and  furthermore,  in 
characterization,  notably  in  the  sympathetic  delineation  of 
Philoclea  and  Pamela,  there  is  nothing  comparable  with  it 
until  the  narratives  of  Richardson.  That  Richardson  named 
his  "  virtuous  serving-maid  "  after  Sidney's  heroine  is  an  inter- 
esting instance  of  literary  relationship.^^ 

The  original  edition  appeared  in  1590,  and  was  so  popular 
that  the  fourth  reprint  was  made  in  1599.  The  new  century 
saw  no  waning  of  its  vogue.  During  the  forty  years  preced- 
ing the  outbreak  of  the  war,  it  was  printed  no  less  than  nine 
times,  three  times  more  by  the  end  of  the  century,  and  shortly 
thereafter  "  modernized  "  by  a  certain  Mrs.  Stanley .^^  There 
were  also,  several  additions,  continuations,  and  dramatiza- 
tions.^^ References  to  the  Arcadia  are  legion.  We  all  know 
Milton's  acknowledgment  that  the  "  vain  amatorious  poem  " 
was  a  book  "  in  that  kind  full  of  worth  and  wit."^^  Waller, 
Cowley,  Sir  William  Temple,  and  Bishop  Hurd  all  read  it 
with  pleasure.  Finally,  Addison,  it  will  be  remembered,  men- 
tioned it  among  the  books  in  "  Leonora's  Library."^*  Indeed, 
so  great  was  the  reputation  of  Sidney's  Arcadia  that  it  was 
honored  with  both  German  and  French  translations,  and  in 
161 1,  we  find  Du  Bartas  referring  to  Sidney  as  one  of  the 
"  three  firm  pillars  of  the  English   speech."*"      The   Italian 

*"  Jusserand,  The  English  Novel  in  the  Time  of  Shakspere,  p.  274. 

'•1590,  1606,  1613,  1623,  1627,  1628-29,  1633,  1654-S,  1662,  1674.  1725- 

^''  A  Supplement  of  a  Defect  in  the  Third  Part,  by  the  Earl  of  Stirling  in 
1 62 1,  a  Sixth  Book  by  Robert  Beling  in  1624,  a  continuation  by  Mrs.  Weames 
in  1 65 1,  a  poetical  version  of  an  episode,  the  much  read  Argalus  and  Par- 
thenia  by  Quarles,  in  1629,  and  dramatizations  like  Shirley's  Arcadia,  c. 
1630—40,  and  Glapthorne's  Argalus  and  Parthenia,  c.  1639.  See  Ward,  III,, 
102. 

^  Eikonoklastes,  Section  I. — Works,  London,  1801,  iii.  451. 

^Spectator,  37. 

"Jusserand,  The  English  Novel  in  the  Time  of  Shakspere,  p.  274,  mentions 
that  two  translations  appeared  so  close  to  one  another,  1624  and  1625,  as  to 
give  rise  to  a  bitter  quarrel.  He  also  quotes  The  Week  of  Du  Bartas  from 
Les  Oeuvres  (161 1).    More  and  Sir  Nicholas  Bacon  were  the  other  "  pillars." 


16 

Biondi  referred  to  Sidney  as  "  the  Phoenix "  of  romance 
writers,  whose  "  Arcadia  he  was  unable  to  translate  but  hoped 
to  imitate.""  As  a  matter  of  fact  his  romances  are  far  more 
in  the  manner  of  the  French  adaptations  of  Heliodorus  than 
of  Sidney. 

Imitations,  strange  to  say,  were  not  very  numerous.  In 
England  about  the  time  of  the  publication  of  the  Arcadia, 
Greene,  Lodge,  and  others  wrote,  to  borrow  their  own  phrase, 
"  after  the  manner  of  Sir  Philip  Sidney."  They  imitated, 
however,  merely  the  externals,  and  in  a  few  years  their  works 
were  reprinted  only  as  chapbooks.  During  the  seventeenth 
century,  although  many  romances  were  given  an  Arcadian 
title  and  many  authors  were  indebted  to  it  for  their  episodes, 
there  was  only  one  close  imitation.  The  Countess  of  Mont- 
gomery's Urania  (1621),  by  Lady  Mary  Wroth.  This  most 
invertebrate  romance  has  never  been  reprinted  but  because  the 
authoress  was  "  niece  to  Sir  Philip  Sidney,"  it  has  received  far 
more  attention  than  it  deserves.  The  other  romances  of  the 
time  were  translations  or  close  imitations  of  the  French.  In 
short,  so  far  as  our  own  fiction  is  concerned,  the  influence 
of  the  Arcadia  although  it  remained  a  popular  book  for  so  long, 
due  in  part,  perhaps,  to  the  prestige  of  Sidney's  name,  is  a  neg- 
ligible factor.  Its  vogue  is  interesting  as  showing  that  there 
already  existed  in  English  fiction  characteristics  and  tenden- 
cies which,  had  it  not  been  for  the  political  disturbances  that 
checked  literary  development,  would  in  all  probability  have 
produced  the  same  sort  of  romances  that  were  later  imported 
from  France.  What  influence,  if  any,  the  Arcadia  had  on  the 
continent  is  purely  a  matter  for  conjecture.*^  No  study  has 
been  made  of  its  influence  on  French  fiction,  though  its  likeness 
to  D'Urfe's  Astree,  and  the  characteristics  which  it  has  in  com- 
mon with  the  heroic  romances  offer  an  interesting  field  for 
speculation. 

"■  Preface  to  his  romance  Don^ella  Desterrada,  which  appeared  in  English 
in  1635. 

*^  In  addition  to  the  translations  of  1624  and  1625,  M.  Jusserand  cites  a 
play,  Mareschal's  Coitr  Bergere  (1640),  mentions  that  a  copy  of  the  1605 
edition  of  the  Arcadia  was  in  the  Jesuit  library  that  later  came  into  the 
possession  of  Fouquet,  and  states  that  Niceron,  Florian  and  Chapelain 
admired  it.      The  Eng.  Novel,  p.  279. 


17 


The  Euphuistic  Romances 


The  other  great  Ehzabethan  romance,  the  Euphues*^  of 
John  Lyly,  is  less  obviously  indebted  to  its  chivalric  and  Greek 
predecessors.  Indeed,  in  spite  of  its  romantic  tone  and  style, 
so  realistic  is  it  in  purpose  and  content  that  M.  Jusserand 
regards  it  as  our  first  novel  of  manners.**  Yet,  to  quote  Dr. 
Utter,  who  has  analyzed  it  carefully,  the  plot  although  "  one 
v^fhich  could  hardly  fail  of  success  if  properly  worked  out " 
was  left  "  so  undeveloped  as  to  be  scarcely  distinguishable 
beneath  the  other  material  under  which  it  is  burdened.  We 
find  all  the  machinery  for  development  and  analysis  of  char- 
acter and  emotions  standing  idle,  a  complete  absence  of  back- 
ground and  sense  of  fact  that  would  reflect  contemporary  life 
and  manners  with  anything  like  specific  detail.""  As  a 
matter  of  fact,  Lyly  cared  nothing  for  his  story  and  little  for 
his  characters ;  his  whole  concern  was  to  teach  by  precept  and 
example  the  ladies  and  gentlemen  of  Elizabeth's  court  how  to 
behave  according  to  the  latest  Italian  fashion.  In  the  Arcadia 
there  is  a  somewhat  similar  didactic  element,  in  that  Sidney 
was  interested  in  the  "  perfect  courtier."  But  there  is  a 
fundamental  difference  between  the  two;  Sidney  was  con- 
cerned with  the  Platonic  ideal  in  which  details  of  manners, 
dress,  and  language  are  accessories,  Lyly  was  writing  a  con- 
duct-book in  which  "  manners  make  the  man."  In  the  prac- 
tical quality  of  his  didacticism  Lyly  closely  resembles  Rich- 
ardson. 

It  does  not  follow  that  the  latter  was  familiar  with  the 
Euphnes;  in  fact,  it  is  unlikely,  for  by  1740  Lyly's  work  was 
almost  forgotten,  only  one  edition,  and  that  moralized  and 
abridged,  being  printed  between  1637  and  the  publication  of 
Pamela.*'^     The  very  features  which  gave  it  such  a  vogue  at 

«  The  Works  of  John  Lyly.      Ed.  W.  Bond,  vol.  i. 

"Jusserand,  The  Eng.  Nov,,  p.  123  sq. 

"  Robt.  P.  Utter,  Studies  in  the  Origin  of  the  English  Novel.  Harvard 
Dissertation,  1906.  Unprinted.  See  also,  "Source  of  Euphues ;  the  anat- 
omy of  Wyt,"  by  S.  L.  Wolff  in  Mod.  Philol.,  7,  S77-8s.  April,  1910, 

*•  Jusserand,  Ibid.,  p.  123,  makes  much  of  the  1716  edition  in  this  connec- 
tion, but  it  is  doubtful  if  it  greatly  influenced  Richardson  twenty-four  years 
later. 


18 

the  time  of  its  publication  were  of  a  transitory  nature,  for 
only  so  long  as  the  behavior  and  conversation  of  Euphucs  and 
Philautus  were  fashionable  was  it  in  demand.  And  although 
it  continued  to  be  reprinted  until  the  outbreak  of  the  Civil 
War,  it  had  ceased  to  be  authoritative  long  before  1625,  when 
Henrietta  Maria  made  French  etiquette  supreme  at  the  court. 
Greene,^^  Lodge,  Munday  and  other  Elizabethans,  simplified  and 
condensed  the  material,  increased  the  number  of  incidents,  and 
exaggerated  the  striking  and  superficial  features  of  the  style. 
These  narratives,  after  a  brief  vogue,  enjoyed  popular  favor  as 
chapbooks'''^  before  dropping  into  oblivion.  In  short,  the  situ- 
ation parallels  that  of  the  Arcadia  and  the  heroic  romances: 
we  have  in  embryo,  characteristics  and  tendencies  which  we 
find  later  in  the  idealistic  novel  of  manners  of  the  eighteenth 
century,  and  yet  there  is  no  ground  for  supposing  that  the 
latter  developed  from  the  former.  There  is,  however,  this 
difference  between  the  two  cases ;  the  novel  of  Richardson  was 
not  perfected  in  France  and  then  translated,  but  developed  in 
England,  under  conditions  which  made  possible  the  combining 
of  the  realistic  material  of  the  chap-book  and  drama  with  the 
conduct  book   and   romance   tradition. 

Political  and  Allegorical  Romances*^ 

Political  and  allegorical  romances  were  popular  with  the 
educated  throughout  the  seventeenth  century,  particularly  so 
during  the  first  sixty  years,  when  the  country  was  in  a  state 
of  political  and  social  unrest.  From  the  point  of  view  of  the 
literary  historian  they  are  unimportant,  since  they  mark  the 
adoption  of  the  romance  form  for  purposes  of  satire  and  prop- 
aganda rather  than  any  legitimate  development.    All  the  works 

*'  For  an  admirable  study  of  Greene,  see  "  Robert  Greene  and  the  Italian 
Renaissance,"  by  S.  L.  Wolff,  Englische  Stiidien,  for  1907,  xxxvii.  321-74. 

"^  Pandosto  by  Greene  (1588)  was  printed  in  1614,  1648,  1677,  1688,  1696, 
1703;  Ciceronis  Amor  by  Greene  (1596),  in  1606,  1607,  1611,  1616,  1628, 
1639;  Arbasto  by  Greene  (1584),  in  1626;  Rosalynde  by  Lodge  (1590),  in 
1592,  1598,  1607,  1609,  1612,  1623,  1634,  1642. 

"  For  more  detailed  discussion  see  Begley,  Nova  Solyma,  ii,  pp.  366-400. 
Ideal  Empires  and  Republics  (Universal  Classics  Library,  1901),  contains  the 
Utopia  and  New  Atlantis  with  an  introduction  by  C.  M.  Andrews. 


19 

with  which  we  are  concerned  in  this  cursory  survey  fall  into 
one  of  two  groups:  ideal  commonwealths  (of  which  the 
"voyage  imaginaire"  is  a  variety)  and  allegories. 

The  ideal  commonwealths,  with  their  various  theories  for 
benefiting  mankind,  belong  more  properly  to  the  history  of 
political  theory  than  to  that  of  prose  fiction,  since,  in  most 
instances,  there  is  no  plot,  no  love  theme,  no  characterization, 
and  little  action.  As  the  name  implies,  these  romances,  like  the 
pastorals,  depicted  ideal  conditions,  but  unlike  the  pastorals, 
were  concerned  with  the  theories  of  government,  religion,  and 
industry,  which  it  was  assumed  would  eliminate  injustice, 
impiety,  poverty,  and  all  other  evils.  By  depicting  the  happi- 
ness of  people  living  under  the  proposed  conditions,  the  authors 
sought  to  bring  about  certain  reforms  or  to  abolish  abuses. 
Unfortunately,  the  writers  too  often  resorted  to  satire  and  to 
minute  description  of  vice.  After  the  Restoration,  the  form 
was  utilized  in  such  compilations  of  scandal  as  Mrs.  Manley's 
Memoirs  of  Some  Persons  of  Both  Sexes,  from  the  Ncrv 
Atalantis  and  Mrs.  Haywood's  Memoirs  of  an  Island  Adjacent 
to  Utopia. 

The  earliest,  the  best,  and  always  the  most  popular  ideal 
commonwealth  of  English  authorship,  is  the  Utopia  of  Sir 
Thomas  More.  The  original  Latin  edition  appeared  in  1518,^^ 
and  in  1551,  Ralph  Robinson  turned  it  into  the  vernacular. 
The  earliest  imitation  by  an  English  writer  seems  to  have  been 
the  Mundiis  Alter  et  Idcm,^°  attributed  to  Joseph  Hall,  which, 
although  entered  on  the  Stationers'  Register  as  early  as  1605, 
did  not  appear  until  1607.  It  is  an  inferior  Latin  work, 
describing    in    satirical    vein    and    in    the    mediaeval    man- 

**  It  was  reprinted  in  that  language,  if  we  include  the  continental  editions, 
at  least  eleven  times  by  1700.  In  1551,  it  was  translated  into  English  by 
Ralph  Robinson  and  reprinted  in  the  vernacular  three  times — 1597,  1624, 
1639 — besides  which  it  was  turned  into  German,  French,  Dutch  and  Italian, 
provoking  imitations  in  those  countries,  which  in  turn  made  their  way  into 
England. 

'^  Mundus  alter  et  idem  sive  Terra  Australis  ante  hac  semper  incognita 
lougis  itineribus  peregrini  Academici  nuperrime  lustrata.  Auth.  Mercurio 
Brittanico,  2  eds.,  Hanover  and  Frankfurt,  1607.  There  was  a  German 
translation  in  161 3.     Cf.  Begley,  Nova  Solyma,  iii.  389. 


20 

ncr  the  countries  of  "  Crapulia,"  "  Viraginia,"  "  Lavcrnia," 
and  the  like.  It  enjoyed  considerable  favor  and,  in  1609, 
was  translated  as  The  Discovery  of  a  Nezve  World,  or,  a 
description  of  the  South  Indies;  hitherto  tinknozvn.  By  an 
English  Mercury.  The  title  reflects  the  influence  of  the  books 
of  travel  and  discovery,  then  so  numerous.  Imitations  were 
coarser  and  more  satirical  than  the  original.  Psittacorum 
Regio.  The  Land  of  Parrots  or  the  Shetlands,  unth  a  descrip- 
tion of  other  strange  adjacent  countries  in  the  Dominions  of 
the  Prince  de  ['Amour  (1669),  The  Travels  of  Don  Francisco 
de  Qiievedo  through  Terra  Australis  Incognita,  discovering  the 
Laws,  Customs  .  .  .  of  the  South  Indians  (1684),  and  The 
Island  of  Content;  or  a  new  Paradise  discovered  (1709)  de- 
scribe lands  of  license  much  in  the  manner  of  Hall.  Superior 
to  Hall's  work  and  more  in  the  spirit  of  More,  are  the  New 
Atlantis  by  Sir  Francis  Bacon,  which  was  not  published  until 
1627,  and  the  Commonwealth  of  Oceana^^  by  James  Harring- 
ton (1657).  The  former  which,  like  most  of  these  romances 
is  in  the  autobiographic  form,  starts  out  almost  as  promisingly 
as  Pilgrim's  Progress,  and  for  a  little  while,  the  narrative,  with 
its  exact  record  of  the  ship's  adventures  "  after  they  sailed  from 
Peru,"  holds  the  attention,  but  all  too  soon,  it  is  submerged  by 
the  lengthy  descriptions  of  the  institutions  and  customs  of  the 
imaginary  commonwealth.  Together  with  various  continua- 
tions, the  Nezv  Atlantis  was  printed  in  1660,  1670,  1676,  and 
1702,  and  very  probably  suggested  to  Mrs.  Manley  the  title  for 
her  Memoirs  of  some  Persons  of  both  Sexes,  from  the  New 
Atalantis  which  appeared  in  1709.  Decidedly  more  diverting  is 
the  Man  in  the  Moone,  by  Domingo  Gonsales,^^  which  appeared 

^'-  The  Oceana  sets  forth  the  scheme  of  government  Harrington  and  his 
party  hoped  to  see  adopted  in  England  at  the  time  of  Cromwell's  death  and 
is  far  too  practical  to  be  regarded  as  a  Utopia  and  too  lacking  in  narrative 
interest  to  be  classed  as  a  romance. 

'^/.  e.,  Francis  Godwin,  Bishop  of  Llandaff  and  later  of  Hereford.  The 
work  was  not  published  until  five  years  after  the  author's  death  and  then 
pseudonymously.  In  1657,  it  was  reprinted  and  again  in  1768,  while  it  sup- 
plied Bishop  Wilkins  with  his  title  Discovery  of  a  New  World  in  the  Moon, 
and  Burton  (Nathaniel  Crouch),  with  much  of  the  material  for  The  Eng- 
lish Acquisitions  of  Guinea  and  East  India  (1728).     (See  supra,  p.  4.) 


21 

in  London  in  1638,  in  1657,  and  again  in  1728.  It  contains,  ac- 
cording to  Begley,  a  good  deal  of  picaresque  material  and  is  a 
predecessor  of  Robinson  Crusoe  in  having  the  hero  and  his  man 
wrecked  on  an  uninhabited  island.  To  this  work  Cyrano  de 
Bergerac  is  indebted  for  some  of  the  devices  and  material  in 
The  Comical  History  of  the  States  of  the  Moon  and  the  Sun, 
which  romance,  translated  in  1687,  directly  influenced  Defoe 
in  the  Co)isolidator  (1705)  and  Swift  in  Gulliver's  Travels 
(1726).  The  last-mentioned  work  far  surpasses  all  the 
romances  we  have  been  considering  in  narrative  skill,  vivid 
description,  keen  characterization,  and  excellence  of  literary 
style,  but  it  is  so  permeated  by  a  satiric  and  unromantic 
spirit,  and  in  the  method  of  presentation  it  is  so  closely  affiliated 
with  the  realistic  pseudo-voyages  that  it  can  scarcely  be  re- 
garded as  a  representative  ideal  commonwealth. 

Gulliver's  Travels^-^  belongs  primarily  to  the  province  of 
satire.  To  quote  Sir  Walter  Scott :  "  No  word  drops  from 
Gulliver's  pen  in  vain.  Where  his  work  ceases  for  a  moment 
to  satirize  the  vices  of  mankind  in  general,  it  becomes  a  stric- 
ture upon  the  parties,  politics,  and  courts  of  Britain ;  where  it 
abandons  that  subject  of  censure,  it  presents  a  lively  picture 
of  the  vices  and  follies  of  the  fashionable  world,  or  of  the 
vain  pursuits  of  philosophy,  while  the  parts  of  the  narrative 
which  refer  to  the  traveler's  own  adventures  form  a  humor- 
ous and  striking  parody  of  the  manners  of  old  voyagers,  their 
dry  and  minute  style,  and  the  unimportant  personal  incidents 
with  which  their  journals  are  incumbered."  Yet  so  skilfully 
is  the  satire  woven  into  the  warp  and  woof  of  the  narrative, 
that  it  never  obtrudes  or  hinders  the  action,  so  that,  as  we  all 
know,  children  enjoy  the  "  story  "  without  being  aware  of  any 
ulterior  purpose.  The  incidents  follow  one  another  in  rapid 
succession,  while  the  minute  detail,  arithmetical  accuracy,  un- 
failing consistency,  and  homely  comparisons  with  which  Lilli- 
put,  Brobdingnag,  and  to  a  less  extent,  Laputa  and  the  Coun- 

"»  Travels  into  Several  Remote  Nations  of  the  World.  In  four  parts. 
By  Lemuel  Gulliver,  first  a  surgeon  and  then  a  captain  of  several  ships. 
2  vols.,  1726. 

The  Works  of  Jonathan  Su^ift,  ed.  Sir  Walter  Scott. 


22 

try  of  the  Houylinhnms,  are  described,  make  them  as  convin- 
cingly real  as  Crusoe's  island.  The  illusion  of  truth  thus  cre- 
ated, is  enhanced  by  the  fortuitous  unity  of  the  memoir 
structure  and  the  substantiality  of  Gulliver's  character.  The 
style,  too,  straight-forward,  and  plausibly  circumstantial,  as 
becomes  a  matter-of-fact  ship's  surgeon,  conduces  to  the  de- 
ception. But  although  the  style  is  as  plain  and  clear  as  that  of 
Defoe  or  Bunyan,  it  is  less  simple,  less  colloquial,  more  concise 
and  nervous,  and  enlivened  by  stinging  sarcasm ;  in  a  word,  it  is 
more  literary. 

Of  Swift's  other  works,  the  Tale  of  a  Tub'^^^  is  the  only  one 
that  can  fairly  be  called  a  narration.  Like  Gulliver's  Travels 
it  is  a  vehicle  for  satire,  in  this  instance  not  so  much  of  all 
mankind  as  of  the  three  representative  Christian  Churches : 
Catholic,  Calvinistic,  and  Lutheran.  As  a  satire,  it  is  per- 
haps unexcelled,  but  as  a  narrative  it  is  less  good.  The  tale 
of  the  three  brothers  is  told  as  plausibly,  as  rapidly,  and  as 
audaciously  as  are  the  adventures  of  Gulliver,  but  the  incidents 
are  inherently  less  interesting.  The  style  is  remarkable  for  its 
brilliance  and  extravagance.  Some  of  the  best  passages  occur 
in  the  digressions  which  Swift  inserted,  much  in  the  manner 
of  Scarron  and  Fielding,  but  managed  far  more  cleverly  than 
either.  The  features  that  characterize  the  Tale  of  a  Tub  and 
Gulliver's  Travels — the  genius  for  narration,  for  seizing  dra- 
matic possibilities,  for  keen  characterization,  and  for  descrip- 
tive phrase —  are  prominent  in  the  Battle  of  the  Books,  the 
Journal  to  Stella,  in  the  vivid,  if  not  very  refined,  Polite  Con- 
versation,^"^^  and  in  the  many  anecdotes  and  narrative  passages 
scattered  through  his  other  works.  Yet  master  narrator  that 
he  was.  Swift's  influence  on  prose  fiction  was  not  great.  He 
perfected  for  satiric  ends  the  various  devices  and  sugges- 
tions he  found  in  the  mediocre  productions  of  his  pred- 
ecessors, but  he  contributed  to  his  successors  neither  new  ma- 
terial nor  new  devices.  His  imitators  are  to  be  found  among 
the  satirists  rather  than  among  the  novelists.     As  Pilgrim's 

^'^  A  Tale  of  a  Tub  .  .  .  with  an  Account  of  a  Battle  between  the  Ancient 
and  Modern  Books  in  St.  James's  Library,      London,  1704. 
^'^'^  Polite  Conversation  in   Three  Dialogues,   1738. 


23 

Progress  is  to  be  regarded  primarily  as  the  culmination  of  the 
religious  allegory,  so  Gulliver's  Travels  is  to  be  regarded  as 
the  culmination  of  the  satirical  "  voyage  imaginaire,"  rather 
than  as  one  of  the  sources  of  the  novel. 

On  the  whole,  writers  of  fiction  are  not  very  largely  indebted 
to  the  ideal  commonwealths.'^  From  them,  no  doubt,  they 
learned  much  of  the  art  of  matter-of-fact  description,  especially 
that  trick,  if  it  may  be  so  styled,  of  giving  the  semblance  of 
reality  by  an  abundance  of  minute  and  consistent  detail.  To 
them,  we  are  also  indebted,  in  part  at  least,  for  the  perfection 
of  two  devices  which  were  much  used  about  the  close  of  the 
century ;  namely,  the  foreign  observer  and  the  "  voyage  imagi- 
naire," one  of  which  the  author  invariably  used  to  account  for 
his  knowledge  of  the  remarkable  country.  The  first  is  the  less 
common  in  the  romances  but  was  later  exploited  in  satires  such 
as  The  Turkish  Spy^^*  (1698),  the  London  Spy  (1703-08),  and  d 
Goldsmith's  Citizen  of  the  World  ( 1760).  The  "  voyage  imagi- 
naire," with  its  initial  shipwreck,  was  the  ordinary  opening, 
and  is  the  basis  of  the  Robinsoniad. 

The  allegorical  romances,  by  combining  all  the  character- 
istics of  the  Greek  and  chivalric  romances  with  the  additional 
attraction  of  having  some  or  all  of  the  characters  and  episodes 
represent  prominent  personages,  countries,  or  political  events 
made  a  high  bid  for  favor.  This  sort  of  romance  was  prac- 
tically invented  by  John  Barclay^*^  in  his  learned  Latin  fiction 

^  In  addition  there  were  a  number  of  insignificant  romances,  such  as  the 
Kingdom  of  Macaria  (1641)  by  Samuel  Hartlib,  advocating  agricultural 
reforms;  Olbia,  a  new  Island  (1660)  by  John  Saddler,  a  cabalistic  treatise; 
and  the  Blazing  World  (1668)  by  the  Duchess  of  Newcastle,  dealing  with  the 
wonders  and  possibilities  of  science.  The  currency  of  cabalistic  doctrine  is 
attested  by  a  rather  clever  burlesque  called  The  Count  of  Gabalis ;  or  the 
Secrets  of  the  Cabalists,  which  came  out  in  1680  and  is  included  in  Mod. 
Nov.,  vol,  ii.  This  is  a  translation  by  P.  Ayres  of  Le  Comte  de  Gabalis 
(Paris,  1670)  by  the  Abbe  Montfaucon  de  Villars.  Dunlop,  ii.  p.  540,  men- 
tions only  the  translation  of  1714. 

^Infra,  p.  106,  n. 

"■John  Barclay  (1528-1621),  son  of  William  Barclay  of  Aberdeenshire, 
was  born  at  Pont-a-Mousson  and  brought  up  in  France.  In  1605,  he  visited 
England,  where  he  remained  ten  years.  For  some  time  he  lived  in  France, 
but  his  later  years  were  passed  in  Rome.      Under  the  pseudonym  of  Euphormio 


24 

Argcuis  (1621)."  Allegory  was  nothing  new  in  fiction,  for  it 
played  a  prominent  part  in  Diana,  Astrce  and  similar 
romances.  But  Barclay  extended  it  from  the  social  life  of 
some  special  group  to  the  political  and  social  life  of  all  Europe, 
merely  centering  the  interest  upon  his  own  country,  France. 
'  Some  events  and  personages,'  says  the  translator,  '  are  certain 
and  easily  unmasked,  others  are  uncertain,  betwixt  and  be- 
tween, as  it  were,  and  others  are  purely  imaginary.  Of  the 
first  group  is  Poliarchus,  whom  we  know  for  certain  to  be 
Henry  IV  of  France;  of  the  second  is  Hyamsbe,  supposed  to 
be  Elizabeth  of  England ;  of  the  third  is  Argenis  and  the  ladies 
of  the  Court.' 

The  plot  centers  around  the  love  of  Poliarchus  for  Argenis. 
It  is  a  typical  Greek  story  of  imprisoned  princesses,  ship- 
wrecked nobles,  gallant  pirates,  and  innumerable  rivals.  In- 
terspersed are  sundry  discourses,  such  as  the  "  Ability  of  some 
Men,"  "A  Discourse  of  a  Theefe,"  "Discourse  on  Lawyers, 
Counselors  and  Advocates,"  a  "  Discourse  of  Madness,"  and 
on  "  Tribute  and  Impositions  of  Kings  on  their  Subjects,"  as 
well  as  comic  scenes  in  which  the  peasants  play  a  prominent 
part.  Thus  we  have  an  erotic  romance  of  the  Greek  type, 
bearing  an  acknowledged  relation  to  actuality  and  introducing, 
in  the  discourse  on  thieves  and  the  comic  scenes  from  low  life, 
the  stock  material  of  realistic  fiction. 

The  vogue  of  the  Argenis  was  tremendous.  In  England, 
with  which  alone  we  are  concerned,  although  a  Latin  edition 
was  entered  on  the  Stationers'  Register  in  1622  and  a  transla- 
tion by  Ben  Jonson  for  Blount,  in  1623,  the  earliest  extant  edi- 
tion is  the  translation  by  Kingesmill  Long,  which  appeared  in 

Lusinius,  Barclay  wrote  a  Petronian  satire,  called  the  Satyricon,  against  the 
machinations  of  the  Jesuits.  It  appeared  in  three  instalments  (1603,  1605 
and  1614),  the  last  of  which.  Icon  Animonim,  somewhat  resembles  the  con- 
temporary rogue  stories.  He  also  wrote  an  Apologia  for  this  satire,  some 
Latin  verses,  and,  later  in  life,  controversial  pamphlets  in  favor  of  the 
Catholic   Church.— Cf.   R.   Garnett,  D.  N.  B. 

°^  The  idea  of  the  romance  may  have  been  suggested  by  the  Cyropaedia  of 
Xenophon,  as  it  is  often  stated,  but  there  is  no  striking  likeness  between  the 
Argenis  and  the  Greek  work  or  any  of  the  numerous  political  romances  then 
current. 


25 

1625.  Long's  translation  was  followed  by  another  version,  that 
of  Sir  Robert  Le  Grys  in  1629,  and  by  reprints,  condensations 
and  continuations  in  1635,  1639,  1669  and  1674.  In  1772,  it 
was  retranslated  and  highly  praised  by  Clara  Reeve  and  as  late 
as  1803,  Coleridge  referred  to  it  in  laudatory  terms.'^  In 
France,  the  Argcnis  was  followed  by  the  almost  equally  famous 
Endymion  of  Gombauld  which  never  acquired  popularity  in 
England.  There  were  a  few  amateurish  imitations  in  English, 
but  the  heavy  Latinized  style  deemed  essential  for  a  serious 
romance,  so  overwhelmed  the  authors  that  they  failed  to  make 
clear  either  the  plot  or  the  allegory.  Moreover,  as  these  imita- 
tions were,  in  nearly  all  instances,  written  after  the  appearance 
of  the  heroic  romances,  the  writers  were  further  hampered  by 
trying  to  incorporate  the  most  prominent  features  of  the  latter. 
First  to  appear  was  the  Icaria  of  John  BisselP^  in  1637,  a  tiny 
Latin  tome  concerned  with  religious  matters  and  not  bearing 
much  similarity  to  the  Argenis.  Gloria  and  Narcissus  by  "  an 
Honourable  Personage "  appeared  in  three  installments,  in 
1653,  1654,  1655,  and  as  a  whole,  in  1661,  so  that  there  must 
have  been  a  continued  interest  on  the  part  of  the  public.  But 
taste  has  changed  since  then,  and  we  find  the  endless  loves  of 
Cloria,  Narcissus,  and  their  innumerable  friends  and  enemies, 
tedious  beyond  endurance,  and  the  allegory,  with  its  possible 
references  to  the  wanderings  of  Charles  II,  a  matter  for  con- 
jecture. In  1659,  an  anonymous  writer  produced  Panthalia,  a 
Royal  Romance,  in  which  Charicles  (Charles  II)  wins  Pan- 
thalia  (England)  from  the  villain  Cromwell.  In  1648, 
appeared  Nova  Solyma,  a  quaint  medley  of  romance,  allegory, 
and  ideal  commonwealth  in  pedantic  Latin,  which  was  first 
translated  and  presented  to  the  world  as  the  work  of  John 
Milton^^^  by  W.  Begley  in  1902. 

""Notes  on  Barclay's  'Argenis,'"  1803,  Works,  ed.  Shedd,  vii.  376. 

"  Of  "  John  Bissel  of  the  Jesuits,"  little  is  known.  In  addition  to  the 
Icaria  he  wrote,  also  in  Latin,  an  account  of  the  Jesuit  missionaries  under 
the  title  Argonauticon  Amcricanorum  sive  Historicc  Pcriculorum  Petri  de 
Victoria,  1647. 

•*  In  "  Nova  Solyma ;  a  romance  attributed  to  John  Milton,"  in  Mod. 
Philol.  for  April,  1904,  i.  525,  Dr.  W.  A.  Neilson  refutes  Mr.  Begley's  argu- 
ments in  detail  and  discusses  the  romance  at  some  length. 


26 

The  Flo-ii'cr  of  Fid  clitic  (1650)  by  John  Reynolds^"  harks 
back  in  style  to  the  Enphucs  and  the  Arcadia,  but  suggests  even 
more,  to  compare  small  things  with  great,  the  Faerie  Quecne. 
Three  princes  wander  through  the  deserts  and  forests  of  Africa 
in  search  of  adventure,  and  finally,  after  rescuing  many  dis- 
tressed damsels,  overcoming  many  monsters,  and  withstanding 
the  temptations  of  the  bower  of  bliss,  win  three  incomparable 
princesses  and  return  to  their  homes,  where  they  live  right- 
eously and  rule  wisely  for  many  years.  The  Flozver  was 
reprinted  several  times  but  never  enjoyed  the  popularity  of  the 
author's  God's  Revenge  against  Murder,  a  collection  of  tragic 
tales  which  Gildon  groups  with  Pilgrim's  Progress  and 
Robinson  Crusoe  among  the  possessions  of  "  every  old  woman." 

The  Aretina  (1660)  of  Sir  George  Mackenzie  is  a  much 
closer  copy  of  the  Argenis.  The  author,  in  a  rather  diverting 
preface,  apologized  for  romances  on  the  well-known  plea  that 
the  story  was  but  a  means  for  inculcating  moral  precepts,  "  the 
sugar  coating  of  the  pill."  This  led  him  to  an  examination  of 
the  romances  of  his  day  which,  in  his  opinion,  failed,  either, 
because,  like  the  old  romances  of  Amadis  and  Palmeryn  they 
were  "  stuffed  with  things  impracticable,"  or  because,  like  the 
later  works  of  Scudery,  they  were  written  in  a  "  too  soaring 
style."  Both  of  these  faults  Mackenzie  promised  to  avoid, 
but  the  reader  will  find  the  combats,  the  tourneys,  the  travels, 
and  the  loves  of  Monanthropus,  Alegistus,  Ophni,  and  Aretina 
as  improbable  and  bewildering  as  those  of  Amadis  or 
Polexandre,  and  the   style  no  nearer  simplicity.     The  brief 

"John  Reynolds,  who  flourished  between  1620  and  1640,  travelled  exten- 
sively in  France.  In  1621  he  published  the  first  part  of  The  Triumphs  of 
God's  Revenge  against  the  crying  and  execrable  sinne  of  (Wilfull  and  Pre- 
meditated) Murther,  a  collection  of  tales  translated  from  the  French,  and  in 
163s  issued  the  complete  six  parts  comprising  "thirty  tragicall  histories,"  in 
which  form  it  was  often  reprinted.  The  Flower  of  Fidelitie,  which  he  first 
published  in  1650,  is  generally  described  as  an  Arcadian  imitation,  but  I 
imagine  Reynolds  in  this,  as  in  his  other  works,  was  drawing  from  French 
sources.  It  was  later  called  The  Garden  of  Love  and  Royal  Flowers  of 
Fidelity,  under  which  title  the  fourth  edition  appeared  in  1692  and  the 
seventh  in  1721.  He  also  translated  A  Treatise  of  the  Court  from  the  French 
of  E.  de  Refuge,  and  The  Judgement  of  Humane  Actions  from  the  French 
of  L.  de  Marande.     Cf.  D.  N.  B. 


27 

tales  or  novels  which  Mackenzie,  in  imitation  of  the  Argenis, 
interspersed  through  his  romances,  while  not  possessing  much 
originaHty  or  merit,  are  themost  interesting  portions  of /I r^^ma. 
The  allegory  is  difficult  to  trace,  but  in  one  of  the  numerous 
essays  which  the  author  "  laced  upon  his  romance,"  he  ex- 
plained that  it  referred  to  the  relations  between  England  and 
Scotland.  Bentivolio  and  Urania,  a  religious  romance  by 
Nathaniel  Ingelo,  also  appeared  in  1660.  It  was  reprinted  in 
1668,  1673,  and  1684,  the  last  time  with  a  much  needed  gloss 
for  recondite  words  and  phrases.  The  mention  of  religious 
allegories  at  once  suggests  Pilgrim's  Progress,  but  this  is  to  be 
associated  with  the  chapbooks  and  homilies  and  not  with  the 
literary  romances. 

On  the  whole,  the  political  and  allegorical  romances,  with  the 
exception  of  the  Utopia,  the  Nezv  Atlantis,  Gulliver's  Travels, 
and  the  Argenis,  have  no  literary  value,  and  the  last  possesses 
little  vital  interest.  Neverthless,  as  a  class  they  were  not  with- 
out an  influence  on  later  fiction.  In  the  first  place,  they  made 
the  element  of  actuality  important,  for  unless  the  relation  to 
contemporary  manners  and  conditions  was  clear,  the  allegory 
and  the  satire  lost  all  point,  and  in  the  second  place,  they  were 
instrumental  in  the  perfecting  of  two  important  devices,  the 
"  voyage  imaginaire  "  and  the  foreign  observer. 

The  Heroic  Romances"" 

All  the  romances  of  the  seventeenth  century  are  commonly 
styled  "  heroic,"  but  speaking  more  strictly,  the  term  should  be 
confined  to  those  narratives  informed  with  the  "  heroic  temper," 
that  is  to  say,  those  in  which  the  characters  and  events  are 
idealized  on  a  large  scale,  or,  to  quote  Dryden,  "  the  images  and 
action  are  raised  above  the  life.""^  The  most  perfect  examples 
are  the  well-known  works  of  La  Calprenede  and  the  Scuderys, 

••  For  further  discussion  see :  P.  H.  Koerting,  Geschichte  des  Franzosichen 
Romans  im  XVII  Jahrhundert,  A.  Le  Breton,  Le  Roman  au  dix-septicme 
sUcle,  Thos,  F.  Crane,  Les  Heros  de  Roman.  Introduction,  La  Societe 
Frangaise  du  dix-septi^me  Steele,  and  M.  F.  von  Waldberg,  Der  empfind- 
same  Roman  in  Frankreich. 

*'  J.  Dryden,  Essay  on  Heroic  Plays,  ed.  W.  P.  Ker,  i.  48. 


28 

which  afford  the  best  means  of  studying  the  type.  Any  de- 
tailed account  of  the  origin  of  the  heroic  romances  or  any 
analysis  of  particular  works  is  unnecessary,  but  a  slight  knowl- 
edge of  their  history  is  practically  essential  for  a  proper 
understanding  of  their  characteristics  and  of  their  significance 
in  the  development  of  the  modern  novel. 

According  to  Professor  Koerting,  the  heroic  romance  passed 
through  three  stages.  The  foundation  was  the  Astrce  (c. 
1610-1627)  of  Honore  d'Urfe  written  somewhat  after  the 
manner  of  Montemayor,  and  combining,  like  Diana,  elements 
from  the  Greek,  chivalric  and  pastoral  romances,  ideals  of 
conduct  derived  from  Castiglione,  and  a  more  or  less  vague 
allegory  of  the  social  life  at  court.  It  somewhat  resembles  the 
Arcadia,  but  has  a  larger  pastoral  element  and  is  more 
elaborate  and  carefully  wrought.''^  Then  came  Gomberville's 
Polexandre  (1637),  which  Professor  Koerting  regards  as  the 
first  genuine  heroic  romance.  Gomberville  rejected  most  of 
the  pastoral  material  and  much  of  the  delicate  sentiment,  sub- 
stituting in  their  stead  wanderings  in  strange  countries  and  a 
spirit  of  braggadocio.  He  followed  the  Greek  structure  and 
utilized  its  devices,  but  otherwise  his  romance,  with  its  hero 
of  virtu  struggling  for  love  and  glory,  is  in  the  manner  and 
spirit  of  Amadis.  The  second  and  final  step  in  the  perfecting 
of  the  genre  was  taken  by  La  Calprenede,  who  combined  all 
the  features  of  the  courtly  Astrce  with  the  heroic  adventures 
of  Polexandre,  and  utilized  as  a  setting,  the  glamour-covered 
ages  of  classical  and  mediaeval  antiquity.  His  Cassandra 
(c.  1647),  Cleopdtre  (c.  1648),  and  Pharamond  (c.  1658), 
Koerting  ranks  as  the  most  perfect  examples  of  the  heroic 
romance.  With  the  works  of  the  Scuderys  began  the  period 
of  decadence.  The  Grand  Cyrus  (c.  1649),  Ahnahide  (c. 
1652),  and  Clelie  (c.  1656)  differ  little  from  the  romances  of 
La  Calprenede,  but  the  over-refinement  of  sentiment  and  style, 
the  far-fetched  political  allusions,  the  long  interspersed  essays, 
and  the  close  representations  of  the  salons  of  the  precieuses, 
under  the  thin  veil  of  romance,  made  them  an  easy  subject  for 
ridicule. 

•=  The  Astrce  combines  practically  all  the  elements  in  the  different  types  of 
narratives.     Cf.  Reynier,  Le  Roman  Sentimental  avant  L'Astree,  p.  150  sq. 


29 

With  the  actual  content  of  the  romances — the  pseudo-history, 
the  episodes,  the  actual  personages  concealed  under  the  feigned 
names — we  are  not  concerned,  since  we  are  regarding  them 
solely  with  respect  to  the  English  development.  From  this 
point  of  view,  there  are  five  important  features :  first,  the  recog- 
nition of  the  romance  as  a  dignified  literar>'  form  with  classical 
models  from  which  rules  could  be  drawn ;  second,  the  deriva- 
tion from  those  models  of  certain  canons,  some  of  which  have 
influenced  fiction  to  the  present  day;  third,  the  creation  of  a 
type  of  hero  and  heroine  which,  with  slight  modifications,  is 
with  us  still ;  fourth,  the  predominance  given  to  sentiment ;  and 
fifth  and  last,  the  emphasis  laid  upon  a  pure,  moral  story  as 
well  as  on  a  didactic  purpose.  Each  of  these  requires  a  word 
of  explanation. 

The  new  respect  with  which  romances  were  regarded  was 
due  partly  to  the  prevailing  taste  for  prose  fiction,  partly  to 
the  social  and  literary  prestige  of  the  authors  and  of  the  Hotel 
de  RamhouUlet,  under  the  auspices  of  which  the  heroic  ro- 
mances were  written,  and  partly  to  the  esteem  accorded  to  the 
Greek  romances,  as  works  of  the  "  ancients."  D'Urfe,  La  Cal- 
prenede  and  Mile,  de  Scudery*'^  all  consciously  patterned  their 
romances  after  Heliodorus,  whom  they  regarded  in  much  the 
same  light  as  the  playwrights  regarded  Seneca.  And  much 
as  the  dramatists,  both  consciously  and  unconsciously, 
utilized  the  indigenous  material,  the  writers  of  prose  narratives 
incorporated  elements  from  the  chivalric  stories  and  the  ro- 
mantic epics.  Be  it  noted  in  this  connection,  that  little  dis- 
tinction was  drawn  between  prose  and  poetry,  a  fact  which  ac- 
counts for  much  extravagance.     Bishop  Huet®*  regarded  the 

•"'J'ai  pris  et  je  prendray  toujours  pours  mes  uniques  modelles  I'imortel 
Heliodore  et  le  Grand  Urfey.  Ce  sont  les  seuls  maistres  que  j'imite  et  les 
seuls  qu'il  faut  imiter."     Mile,  de  Scudery,  Introduction  to  Cyrus. 

"  Heliodore  I'a  surpasse  dans  la  disposition  du  sujet,  comme  en  tout  le 
reste."      Huet,  L'Origine  des  Romans,  p.  380. 

"  Huet,  L'Origine  des  Romans,  p.  348,  "  Ce  que  Ton  appelle  proprement 
romans,  sont  des  histoires  feintes  d'aventures  amoureuses,  ecrites  en  prose 
avec  art,  pour  le  plaisir  et  instruction  des  lecteurs.  Je  dis  des  histoires 
feintes,  pour  les  distinguer  des  histoires  veritables.  J'ajoute  d'aventures 
amoureuses,  parceque  I'amour  doit  etre  le  principal  sujet  du  roman.     II  faut 


30 

use  of  prose  or  poetry  as  a  matter  of  fashion.  "  Heywood."*"* 
in  translating  Biondi's  Eronicna,  writes  of  "  Heliodorian 
poesie";  Dryden,  in  discussing  the  heroic  plays  which  were 
based  on  the  French  romances,  discusses  the  laws  of  an  "  heroic 
poem  " ;  and  the  Pharonnida,  an  epic  poem  by  Chamberlayne, 
was  turned  into  prose  under  the  title  Eromena  or  the  Noble 
Stranger  (1683).  The  distinction  between  prose  and  verse 
narrative  was  not  made  until  the  rise  of  the  realistic  story  at 
the  end  of  the  century,  and  in  fact  the  confusion  lasted  down  to 
the  time  of  Scott. 

From  the  Greek  romances,  as  has  been  said,  were  derived 
the  canons  according  to  which  the  later  works  were  constructed. 
They  are  admirably  stated  by  Bishop  Huet.  First,  he  laid 
down  the  law,  which  has  since  become  an  axiom,  that  "  love  is 
the  principal  subject  of  romance";  second,  that  the  "history" 
must  be  feigned,  not  real,  a  rule  to  which  little  attention  was 
paid  by  realists  of  the  next  generation,  but  which  was  later 
accepted;  third,  that  the  purpose  is  to  teach  the  principles  of 
right  living  by  rewarding  virtue  and  punishing  vice;  and 
fourth,  that  the  presentation  of  the  fable  must  follow  certain 
rules.  These  rules  merely  summed  up  the  Greek  method  for 
attaining  surprise,  suspense,  etc.,  and  fell  into  oblivion  with 
the  heroic  romances. 

The  most  important  deviation  from  the  Greek  romances  was 
in  the  matter  of  the  hero  and  heroine.  The  passive  Greek 
hero,  devoted  solely  to  love,  did  not  conform  to  the  Western 
ideal,  and  on  the  other  hand,  the  chivalric  hero  was  devoted  too 
exclusively  to  military  fame ;  so  a  compromise  was  effected  by 

qu'elles  soient  ecrites  en  prose,  pour  etre  conformes  a  I'usage  de  ce  siecle ; 
il  faut  qu'elles  soient  ecrites  avec  art  et  sous  de  certaines  regies,  autrement 
ce  sera  un  amas  confus,  sans  ordre  et  sans  beaute.  La  fin  principale  des 
romans,  ou  du  moins  celle  qui  le  doit  etre,  et  que  se  doivent  proposer  ceux 
qui  les  composent,  est  I'instruction  des  lecteurs,  a  qui  il  faut  toujours  faire 
voir  la  vertu  couronnee  et  le  vice  puni  "  (page  348). 

"  Les  romans,  au  contraire,  ont  I'amour  pour  sujet  principal  et  ne  traitent 
la  politique  et  la  guerre  que  par  incident.  Je  parle  des  romans  reguliers ; 
car  la  pluspart  des  vieux  romans  .  .  .  sont  bien  moins  amoureux  que  raili- 
taires,"  p.  350. 

"'See  bibliography  under  Eromena^  1632. 


31 

making  love  and  ambition  two  master-passions.  In  all  proba- 
bility, the  hero  was  evolved  from  the  Courtier  of  Castiglione, 
for  it  needed  but  a  theatrical  setting  to  make  a  "  Cyrus  "  of 
that  paragon.  The  heroine  presents  the  companion  picture  of 
the  "  great  lady,"  charming  all  with  her  wit,  her  beauty,  and  her 
"  becoming  attire."  She  does  little,  but  being  sensitive  to  a 
degree,  suffers  much,  and  enjoys  nothing  more  than  describing 
her  every  emotion.  A  drop  in  the  social  scale,  and  we  have  the 
insipid  parlor  heroes  and  tearful  heroines  of  the  eighteenth 
century. 

The  presence  of  realism  and  sentiment  in  the  heroic  romances 
is  often  overlooked,  because  the  language  in  which  it  is  ex- 
pressed is  so  affected,  and  the  point  of  view  so  intellectual.  As 
a  matter  of  fact,  there  are  many  subtle  bits  of  characterization, 
numerous  examples  of  sound  psychology,  and  sympathetic,  as 
well  as  minute,  analyses  of  passion.  The  long  "  portraits  " 
were  drawn  from  the  life  and  immediately  recognized  by  con- 
temporaries.^^ We  find  the  hysterical  outbursts,  the  tears,  the 
self-pity,  the  love  of  melancholy,  and  the  cult  of  solitude  which 
we  associate  with  the  sentimentalism  of  Rousseau,®^  but  always 
with  this  difference,  that  in  the  romances,  conduct,  if  not  the 
heart,  is  invariably  controlled  by  the  head.  No  matter  what 
the  emergency,  you  may  depend  upon  the  hero  to  show  a 
judgment  "  natural  and  proper,"  and  the  heroine  never  to  sin 
against  the  social  code.  The  inculcation  of  virtue  and  pro- 
priety was,  in  these  French  romances  as  in  the  Richardsonian 
novels,  a  primary  object  with  the  authors.  In  this  emphasis 
upon  the  moral  purpose  there  is  nothing  essentially  new — Lyly, 
Nash  and  the  later  Italian  novelists,  for  example,  had  stressed 
the  didactic  element — but  a  certain  significance  is  derived 
from  the  fact  that  during  the  reign  of  Restoration  license,  these 
romances  not  only  asserted  that  "  virtue  is  rewarded  and  vice 
punished,"  but  were  themselves  pure  in  thought  and  phrase."* 

•"  Cf.  V.  Cousin,  La  Societe  fratigaise  an  XVIIc  sicclc. 

"  Cf.  Waldberg,  Dcr  empfindsame  Roman  in  Frankreich. 

•*Mrs.  Barker  in  the  introduction  to  Exilius  (1715),  and  again  in  the 
Lining  of  the  Patchwork-Screen  (1725),  makes  much  of  the  edifying  fea- 
tures of  the  romances.     See  infra,  p.  144  sq. 


32 

Such  were  the  celebrated  heroic  romances  which  made  their 
w^ay  into  England  during  the  Protectorate  and  were  at  the 
height  of  fashion,  to  judge  by  the  translations,  during  the 
reign  of  Charles  II.  They  were,  in  all  probability,  well-known 
before  the  English  versions  appeared,  for  the  aristocracy,  to 
whom  these  romances  appealed,  were  as  familiar  with  French 
as  with  English,  and  furthermore,  the  country  gentry  ?nd 
circles  like  those  of  the  "  matchless  Orinda  "  and  the  Duchess 
of  Newcastle,  prided  themselves  upon  reading  the  original.^^ 
The  translations  were  of  two  sorts ;  literary  exercises  by  noble 
aspirants  for  fame,  and  redactions  made  for  the  bourgeoisie 
by  publishers'  hacks  and  indigent  "persons  of  quality."  In 
both  cases  the  text  was  often  condensed.  According  to  M. 
Charlanne,  Polexandre  was  reduced  by  three  books,  and  the 
prefaces  and  epistles  in  which  La  Calprenede  and  Mile,  de 
Scudery  aired  their  theories  were  ruthlessly  cut  out,  so  that 
in  the  words  of  the  same  authority,  the  story  stood  "  bare  and 
dry  without  ornament  of  any  kind."^"  The  style,  too,  was 
often  so  execrable  that  Dorothy  Osborne's  scathing  criticism''^ 
was  quite  justified. 

"  I  have  no  patience  neither,  for  these  translations  of  romances.  I  met  with 
Polexander  and  L'illustre  Bassa  both  so  disguised  that  I,  who  am  their  old 
acquaintance,  hardly  knew  them ;  besides  that,  they  are  still  so  much  French 
in  words  and  phrases  that  'twas  impossible  for  one  that  understands  not 
French  to  make  anything  of  them.  If  poor  Prazimene  be  in  the  same  dress, 
I  would  not  see  her  for  the  world.  ...  Is  it  not  my  Lord  Monmouth  or  some 
such  formidable  person  that  gives  her  to  the  world?  " 

Poor  as  they  were,  however,  the  translations  were  widely 
read.  To  William  Browne  belongs  the  honor  of  first  intro- 
ducing these  romances  into  English  with  his  version  of  Gom- 
berville's  Polexandre  in  1647.  Five  years  elapsed  before  any 
further  translations  appeared,  then  in  1652,  came  Loveday's 
version  of  the  first  part  of  Cleopatre  under  the  title  of  Hymen's 
Praelndia,  or  Love's  Masterpiece,  parts  two  to  seven  came 

"'  Cf.  Charlanne,  L'Influence  Frangaise  en  Angleterre  au  XVII^  Siecle, 
and  Upham,  The  French  Influence  in  English  Literature. 

'"'  Charlanne,  Ibid.,  p.  380. 

""■  Letters  from  Dorothy  Osborne  to  Sir  William  Temple,  ed.  E.  A,  Parry, 
London,  1888,  pp.  160-61. 


33 

out  the  ensuing  year,  but  parts  seven  and  eight  not  till  1658, 
the  three  remaining  parts  not  till  1665,  and  the  whole  was 
not  printed  together  till  1671.  In  1652,  there  also  appeared 
translations  of  Ibrahim  and  of  Cassander,  King  of  Maccdon, 
elegantly  rendered  into  English  by  an  Honourable  Personage, 
of  which  a  better  known  version,  by  Sir  Charles  Cotterel,  the 
friend  of  the  "matchless  Orinda,"  is  dated  1661,  Artor- 
mene,  or  Le  Grand  Cyrus  followed  in  1653,  and  we  find  it 
advertised  in  the  Terin  Catalogues  for  1691.  Three  years  later, 
in  1656,  appeared  Cleila,  a  Historic  Romance  rendered  by 
Davies  and  Havers.  In  1660,  was  printed  Pierre  de  Hortigue's 
Scipion,  and  in  1677,  John  Phillips,  Milton's  nephew,  per- 
formed the  feat  of  translating  both  the  Almahide  and  Phara- 
mond.  In  addition  to  these  long  romances,  there  were  heroic 
conversations  and  harangues  of  which  the  most  famous  are 
those  of  Mile.  Scudery;"  and  short  romances,  which  on  the 
score  of  their  brevity,  were  often  styled  "  novels."  Such,  for 
example,  are  Fatal  Prudence,  or,  Democrates,  the  Unfortunate 
Hero  (1679),  Meroveus,  Son  of  Chilperic  I.  (1682),  and 
Ildegerte,  Queen  of  Norway  (1721).  The  last  two  are  de- 
cidedly above  the  average  in  the  conception  of  the  plot  and  in 
the  delineation  of  character.  The  women  are  remarkably 
strong,  and,  although  possessing  none  of  the  Greek  heroines' 
subtlety  of  intellect,  are  the  leaders  in  council  and  in  action. 

Numerous  imitations  were  to  be  expected,  and  it  is  there- 
fore surprising  that  not  more  than  half  a  dozen  English 
romances  can  be  so  classed :  Eromena,  or,  The  Noble  Stranger, 
founded  on  Chamberlayne's  Pharonnida  (1683)  ;  Cloria  and 
Narcissus  (1633-54-55-61);  Parthenissa  (1654-69);  Paiv- 
thalia  (1659);  Birinthia  (1664);  Aretina  (1661)  ;  Pandion 
and  Amphigenia  (1665);  Celenia  (1723).  Of  these,  Cloria, 
Panthalia,  and  Aretina  are  political  allegories  as  well,  and  have 
been  discussed  under  that  category;  while  Pandion,  not  being 
markedly  "  heroic,"  belongs  rather  with  the  miscellaneous 
romances.    Of  the  remaining  works,  Parthenissa  alone  attained 

"A  Triumphant  Arch,  erected  and  consecrated  to  the  Glory  of  the  Femi- 
nine Sex,  translated  by  "  J.  B.,"  1654,  and  The  Female  Orator,  or  the  Courage 
and  Constancy  of  Women,  trs.  1713. 
4 


34 

any  celebrity,  a  success  due  more  to  the  prominence  of  the 
author,  Roger  Boyle,  better  known  as  Lord  Broghill,  than  to 
the  merits  of  the  romance.  The  curious  who  would  like  to 
know  more  in  detail  the  content  and  structure  of  these  folio 
romances  with  which  noble  ladies  whiled  away  their  long 
leisure  hours,  will  find  a  full  summary  of  Parthcnissa  in  Ap- 
pendix A.  As  for  criticism,  we  can  do  no  better  than  to  quote 
that  of  Boyle's  contemporary,  Dorothy  Osborne.'^ 

" 'Tis  handsome  language;  you  would  know  it  to  be  writ  by  a  person  of 
good  quality  though  you  were  not  told  it ;  but,  on  the  whole  I  am  not  much 
taken  with  it.  All  the  stories  have  too  near  a  resemblance  with  those  of 
other  romances,  there  is  nothing  new  or  '  suprenent '  in  them ;  the  ladies  are 
all  so  kind  they  make  no  sport.  .  .  .  Another  fault  I  find,  too,  in  the  style — 
'tis  affected.  '  Ambitioned '  is  a  great  word  with  him,  and  '  ignore  ' ;  my 
'  concern,'  or  '  of  great  concern ',  it  seems  is  properer  than  concernment ; 
and  though  he  makes  his  people  say  handsome  things  to  one  another,  yet 
they  are  not  easy  and  '  naive  '  like  the  French,  and  there  is  a  little  harsh- 
ness in  most  of  the  discourse  that  one  would  take  to  be  a  fault  of  a 
translator  rather  than  of  an  author.  But  perhaps  I  like  it  the  worse  for 
having  a  piece  of  the  '  Cyrus '  by  me  that  I  am  hugely  pleased  with." 

Eromcna  is  less  heroic  and  in  many  ways  is  closely  modelled 
on  the  French  erotic  romances,  yet  there  is  a  deliberate  attempt 
to  "  raise  the  characters  above  the  life,"  and  to  expound  royal- 
ist doctrines.  The  plot  of  the  Spartan  lord  searching  for 
Eromena  is  interspersed  with  much  irrelevant  matter  concern- 
ing the  Turks  and  Christians  and  is  hidden  in  a  mass  of  intri- 
cate diction.  The  language  is  very  figurative,  and  at  its  best, 
as  in  the  description  of  the  heroine's  passions  as  lying  "  at 
anchor  in  the  safe  haven  of  serene  thoughts,"  ''*  not  without 
charm;  but  more  often  it  is  strained,  as  in  "Rivers  of  tears 
fell  from  her  fair  eyes  "  ;^^  "  Truth  and  Innocence  smelt  sweet 

''^Letters  from  Dorothy  Osborne  to  Sir  William  Temple,  ed.  E.  A.  Parry, 
p.  228. 

She  also  asks  if  it  is  true  "  that  Waller  is  writing  a  romance  concerning 
the  Civil  Wars,  and  Lord  Saye  a  something !  "  No  such  works  are  known. 
Monmouth  translated  (1641-46)  Biondi's  History  of  the  English  Civil  Wars, 
i.  e..  Wars  of  the  Roses.  Possibly  rumor  confused  this  with  a  romance  con- 
templated by  Waller. 

""•  Eromena;  or,  the  Noble  Stranger.      London,  1683,  p.  50. 

■"^  Ibid., -p.  60. 


35 

and  grateful  in  the  nostrils  of  all";''"  "her  prayers  and 
shrieks  fill  all  the  ambient  air."  '^ 

Birinthca  is  open  to  even  more  stringent  censure.  Although 
shorter  than  Parthcnissa,  the  loves  of  Cyraeres,  Cyrus,  and 
Birinthea  with  the  interwoven  story  of  Arspe  and  Panthea, 
are,  if  anything,  even  more  bewildering  than  those  of  Boyle's 
characters.  With  the  opening  statement  that  "  if  the  night 
had  not  come  and  surprised  them  the  battle  had  not  been  so 
soon  ended,"  the  reader  is  plunged  "  in  medias  res "  and  is 
whirled  through  innumerable  battles,  duels,  shipwrecks,  and 
kidnappings,  without  discovering  what  it  is  all  about.  Celenia 
is  a  very  inferior  piece  of  work.  The  characters  are  still 
ostensibly  on  the  heroic  scale,  but  their  motives  are  less  pure, 
their  ambition  less  worthy,  and  the  general  tone  vulgar — it  is 
decidedly  the  heroic  romance  in  its  decadence.  Like  Par- 
thcnissa and  Eromcna,  it  is  interspersed  with  long  discourses 
on  government  and  references  to  current  politics.  The  pres- 
ence of  allegory  and  allusions  to  contemporary  persons  and 
events  is  highly  probable  in  all  these  romances,  for  it  was  a 
striking  feature  of  the  French  models.  Moreover,  Boyle  in 
his  dedication  to  Lady  Northumberland,  gives  us  to  under- 
stand that  Parthenissa  resembles  his  patroness  in  so  far  as 
his  "  feeble  pen  could  portray  her  beauties."  But  on  the 
other  hand,  there  is  no  contemporary  evidence  that  personal 
allusions  were  intended  in  any  instance,  and  in  the  case  of 
Parthenissa  this  is  the  more  remarkable,  since  Dorothy 
Osborne,  who  discussed  the  romance  at  length  and  knew  by 
reputation  at  least,  the  society  which  Boyle  frequented,  did 
not  so  much  as  hint  at  such  a  thing. 

The  influence  of  the  heroic  romances  cannot  be  measured 
merely  by  the  translations  and  imitations.  They  were  the 
inspiration  of  those  literary  coteries'*  that  surrounded  the 
Duchess  of  Newcastle  and  Mrs.  Katherine  Philips.  The  mem- 
bers, assuming  romantic  names  with  a  classical  ring,  exercised 

"  Ibid.,  p.  34. 
"  Ibid.,  p.  28. 

"  Cf.  Upham,  The  French  Influence  in  English  Literature,  p.  333  sq.,  and 
Gosse,  Seventeenth  Century  Studies,  p.  206  sq. 


36 

their  wits  in  exchanging  elegant  epistles  in  the  manner  of  the 
"matchless  Orinda "  and  Poliarchus  (Sir  Charles  Cotterel). 
jMrs.  Philips  herself  contributed  nothing  to  prose  narrative,  but 
undoubtedly  it  was  under  her  stimulating  influence  that  Cotte- 
rel and  Davies  made  their  translations,  and  that  Boyle  wrote 
Parthcnissa.  The  Duchess  of  Newcastle,  on  the  other  hand, 
reflects  their  influence  directly,  since,  to  quote  Pepys,  "the 
whole  story  of  this  lady  is  a  romance  and  all  she  does  is 
romantic."  Her  narratives  however,  with  the  exception  of 
The  Blazing  World,  are  not  romances,  so  discussion  of  them 
will  be  postponed^" 

Many  plays  were  founded  on  episodes  in  the  romances: 
Dryden's  Conquest  of  Grenada  was  taken  from  Almahide, 
Bower's  Cyrus  the  Great  from  the  romance  of  that  name,  and 
Mrs.  Behn's  The  Young  King  from  Cleopatra.  References 
to  the  romances  abound  in  essays  and  diaries.  Addison,  in  his 
list  of  books  in  "  Leonora's  Library  "^'^  mentions :  "  Cassandra, 
Cleopatra,  Astraea,  the  Grand  Cyrus,  with  a  pin  stuck  in  one 
of  the  middle  pages,  and  Clelia  which  opened  of  itself  in  the 
place  that  describes  two  lovers  in  a  bower."  Dorothy  Osborne 
has  been  quoted  sufficiently  to  show  how  much  she  enjoyed, 
and  withal,  how  keenly  she  criticized  the  romances.  Mrs. 
Pepys  was  also  partial  to  them,  and  from  her  husband  we 
learn  that  "she  sat  up  till  twelve  reading  Great  Cyrus "^'^ 
and  that  on  another  occasion  she  was  greatly  troubled  by  his 
checking  her  "  In  her  long  stories  out  of  Grand  Cyrus,  which 
she  would  tell,  though  nothing  to  the  point  nor  in  any  good 
manner."^^  And  finally,  as  late  as  1752,  they  were  sufficiently 
popular  to  give  point  to  Charlotte  Lennox's  satire,  the  Female 
Quixote. 

Thus  for  nearly  a  hundred  years  the  long  French  romances 
of  La  Calprenede  and  Mile,  de  Scudery  were  an  important 
factor  in  English  fiction.  Much  of  the  minute  analysis  of 
passion,  of  the  conventional  didacticism,  of  the  detailed  descrip- 

'"  Infra,  p.  128  sq. 

^Spectator,  No  37;  see  also  Steele,  The  Tender  Husband,  1705. 
'^^  Diary  of  Samuel  Pepys,  Globe  ed.,  London,  1905,  p.  59,  entry  for  Dec.  7, 
1660;  p.  381,  entry  for  May  12,  1666, 


37 

tion  of  manners  and  dress,  of  the  reflective  sentimentalism,  and 
of  the  complicated  structure  so  prominent  in  the  works  of  the 
eighteenth  century,  can  be  traced  directly  to  the  heroic  ro- 
mances, "  so  unreal,  so  tedious,  so  patiently  wrought. "^- 

MlSCELLANEOUS  ROMANCES 

In  addition  to  the  romances  we  have  been  considering,  there 
were  a  large  number  of  short  miscellaneous  narratives,  dealing 
with  material  more  or  less  romantic,  in  a  romantic  spirit. 
Some  of  these  were  no  more  than  elaborations  of  episodes  in 
the  longer  works  or  modernizations  of  romantic  novelle,  but 
others  differed  materially.  In  the  earlier  years,  the  sixteenth 
century  pastorals,  such  as  the  Diana  of  Montemayor,  the 
Faithful  Shepherd  of  Guarini,  the  Galatea  of  Cervantes,  and 
The  Pastorals  of  Julietta^^  of  Ollenix  du  Mont-Sacre,  enjoyed 
a  mild  vogue.  They  were  superseded  by  short  romances  in 
which  episodes  from  Moorish  history  or  wild  adventure  among 
the  "  Moslems "  played  the  most  important  part.  The 
Moors  very  early  figured  in  Spanish  narratives,  but  a 
keener  interest  was  aroused  by  the  romantic  History  of  the 
Civil  Wars  of  Granada^*  which  supplied  many  new  incidents 
and  much  information  about  the  customs  of  Moorish  life. 
Writers  of  fiction  were  not  slow  to  perceive  the  picturesque 
value  of  the  Moorish  setting,  and  we  find  Mile,  de  Scudery 
substituting,  in  Almahide,  the  Conquest  of  Granada  for  the 
wars  of  classical  antiquity.  Of  the  numerous  short  works 
dealing  with  this  and  other  material,  it  will  suffice  to  mention 
a  few  suggestive  titles  chosen  from  a  list  numbering  nearly 
one  hundred.      Closely  modelled  after  the  Greek  pattern  are 

«W.  Raleigh,  The  English  Novel,  1894,  p.  105. 

^Les  Bergeries  de  Juliette,  1 585-1 598,  was  translated  in  1607  as  The  Pas- 
toralles  of  Julietta  by  Gervase  Markham,  and  again  as  Honour's  Academy  by 
Robert  Tofte  in  1610.  The  latter  is  said  to  bear  small  resemblance  to  the 
original.     Cf.  Upham,  French  Literature  in  England,  p.  367. 

'^  Historia  de  las  Guerras  Civiles  de  Granada,  presumably  the  work  of 
Gines  Perez  de  Hita  (c.  1604),  free  versions  of  which  appeared  in  France 
early  in  the  seventeenth  century. 


38 

Pcrsilcs  and  Sigisniunda  by  Cervantes,  Ariana^^  by  Desmarets 
de  Saint-Sorlin,  an  interesting  attempt  to  set  a  story  in  the 
time  of  Nero,  and  the  cumbersome  Dianca^'^  of  Loredano.  Of 
those  in  which  the  "  IMoslems  "  play  a  prominent  role  may  be 
mentioned  The  Liberal  Lover,^'^  by  Cervantes,  The  Happy 
Slave,  by  Gabriel  de  Bremond,^*  The  Chaste  Seraglian,  and 
Ibraham  Bassa  of  Biida. 

A  series  of  three  romances*"  by  the  Italian  Biondi  combine 
a  little  of  this  picturesque  element  with  the  more  salient  fea- 
tures of  such  sentimental  romances  as  Arnalte  and  Lucenda, 
and  at  the  same  time  reflect  the  growing  tendency  to  weight 
the  narrative  with  sermons  and  political  theory.  To  how 
large  an  extent  the  feigned  personages  and  didactic  purpose 
had  come  to  be  regarded  as  essential  features  of  the  Greek 
romances,  may  be  inferred  from  the  translator's  reference  to 
"  Heliodorian  poesie  "  as  "  that  historical  way  of  poetizing  or 
poetical  way  of  historizing  or  displaying  in  the  fained  seeming, 

^  For  a  full  summary  and  discussion  of  Ariana  see  the  Preface  to  Les 
Heros  de  Roman,  ed.  T.  F.  Crane,  Athenaeum  Press,  1907.  It  was  translated 
in  1634. 

"Translated  in  1654  by  Sir  Aston  Cokain, 

^^  This  was  first  translated  in  1640. 

^  Gabriel  de  Bremond  occupies  such  an  insignificant  place  in  French  liter- 
ature that  little  attention  has  been  devoted  to  him.  While  still  a  youth  he 
was  forced  to  seek  refuge  in  Holland  and  there  remained  for  the  rest  of 
his  life.  His  numerous  works  date  between  1676  and  1708.  Hattige, 
appeared  in  1676,  Le  Galant  escroc  ou  le  Faux  Comte  Brian  in  1677,  Apolo- 
gie  ou  les  Veritables  Memoires  de  Madame  Marie  de  Mancini  in  1678, 
Memoirs  galants  ou  les  Aventures  Amoureuses  d'une  Personne  de  Qualite 
in  1680,  and  a  version  of  Guzman  d'Alfarache  in  1695.  The  Double  Cocu 
and  the  Heureux  Esclave  ou  les  Aventures  du  Sieur  de  la  Martiniere  1708, 
are  attributed  to  him.  Grand  Dictionnaire  Universel  du  xix  siecle,  La- 
rousse.  According  to  the  English  translations,  The  Pilgrim  and  the  Per- 
plexed Prince,  are  by  Bremond. 

^  Eromena:  or  Love  and  Revenge,  Donzella  Desterrada,  or  the  Banished 
Virgin,  Coralbo,  a  new  romance  in  three  books,  translated  in  1632,  1635  and 
1655  respectively  by  (according  to  Fry)  "Jasper  Heywood."  According  to 
Thompson  Cooper,  D.  N.  B.,  Jasper  Heywood  died  in  1598.  It  follows  that 
the  Jasper  Heywood  of  literary  repute  could  not  have  translated  the  ro- 
mances, and  it  seems  wiser  to  identify  the  "  J.  H."  on  the  title-page  with 
the  James  Howard  to  whom  Howell  wrote  a  letter  on  his  translation  of 
Eromena,  Oct.  6,  1632,  see  Familiar  Letters,  ed.  I.  Jacobs,  I.,  329. 


unfained  adventures  and  action  .  .  .  embellished  more  fre- 
quently with  ethicall  solidity  than  superficial  rhetorick." 

The  English  with  few  exceptions  confined  themselves  to 
translations,  or  rather  redactions,  for  in  many  cases  they 
showed  considerable  originality  in  deviating  from  their  texts. 
Decidedly  the  most  delightful  variation  is  the  satirical  or 
burlesque  version  of  Voiture's  Alcidalis  and  Zelide  under  the 
title  Zelinde,  an  excellent  new  romance,^'^  which  a  certain 
"  T.D."  claimed  to  have  translated  "  from  the  French  of  M. 
Scudery."  Such  life  and  vigor  has  this  little  piece  that  M. 
Jusserand  calls  it  an  original  anti-romance.  Voiture's  plot 
was  most  ingenious  in  its  extravagance,  and  "  T.D."  rendered 
it  in  a  style  worthy  of  the  matter,  and  further  spiced  it  with 
critical  asides.  Thus,  for  instance,  he  describes  the  rage  of 
the  cheated  duke : 

"  He  beat  his  head  against  the  ground,  tore  his  hair,  and  uprooted  his 
comely  beard  !  Let  me  not  lye  neither,  perhaps  beards  were  as  much  out 
of  fashion  then  as  now,  and  I  would  not  have  posterity  imposed  upon  in 
matters  of  such  weight;  truth  will  go  through  the  world."" 

And  again,  in  calling  upon  his  readers  at  the  close  of  the 
volume  to  conjure  up  the  joy  of  the  united  lovers,  he  exclaims : 

"  Gentle  Reader  (I  may  safely  call  you  so  now,  for  I  am  sure  you  are 
tired  as  well  as  I).'"- 

Unfortunately,  there  were  no  other  "  T.D.'s "  translating 
romances.  Peter  Belon,  B.  Berenclow,  Ferrand  Spence  and  the 
host  of  vague  "  Persons  of  Quality  "  were  as  free  from  satir- 
ical humor  as  the  authors  could  desire. 

A  half  dozen  English  romances  of  this  type  deserve  a  word 
of  comment,  less  on  account  of  their  worth  than  of  their  rarity. 
Probably  others  have  been  lost,  for  there  are  entries  in  the 
Term  Catalogues  which  suggest  this  kind  of  romance.  The 
plots  are  extravagant,  the  characters  are  absolutely  colorless, 
the  descriptions  ludicrously  artificial,  the  emotional  outbursts 

**  Contained  in  Mod.  Nov.,  vol.  vii.     Is  "  T.   D."  Thomas   Durfey?     A 
literal  translation  is  contained  in  a  Collection  of  Select  Discourses,   1687. 
"P.   II. 
"P.  126. 


40 

rhetorical,  and  the  style,  the  most  ornate  and  fantastic  imagin- 
able. 

The  Cyprian  Academy  (1647),  by  Robert  Baron  dedicated 
to  "  the  Super-eminent  Paragon  of  Art  and  Literature,  the 
truly  noble  James  Howell  "^^  is  very  short,  the  three  books  and 
the  masques  at  the  close  of  each  being  comprised  within  one 
hundred  octavo  pages.  The  loves  of  Flaminius  and  Clarinda 
and  of  Arabella  and  Lycidas  have  their  prototypes  in  such 
French  romances  as  Pandion  y  Yonice  (1599)  and  I'Histoire 
des  Amours  de  Poliphile  et  de  Damis  (1602).''*  Pandion  and 
Amphigenia;  or  the  Coy  Lady  of  Thessaly  (1666)  by  John 
Crowne  is  longer  and  shows  traces  of  the  heroic  element,  but 
is  indebted  to  the  Arcadia  for  its  "  chief  beauties."  In  the 
diverting  preface  Crowne,  like  all  the  fashionable  young 
writers,  informs  us  that  this  "  trifling  product  of  an  idle  hour  " 
is  indeed  "  a  hospital  for  lame  conceits,"  but  on  the  other  hand 
he  assures  us  "  it  is  no  jay  trickt  up  in  others  feathers  nor  pop- 
injay to  parrate  others  wit."  But,  alas,  scarcely  is  there  an 
incident  or  effective  passage  that  cannot  be  traced  to  another 
source!  The  Eliana  of  John  Pordage  (1661),  judging  from 
the  remarks  of  Dunlop,®^  is  a  similar  piece  of  fiction. 

In  all  three  romances  the  style  is  the  most  striking  feature, 
and  probably  the  greatest  pleasure  of  the  readers  was  derived 
from  the  elegance  of  the  diction  and  the  subtlety  of  the  con- 
ceits. A  person  was  not  killed,  but  "  was  sent  to  fetch  an 
errand  in  the  dust,"  did  not  die,  but  "  acted  his  life's  epilogue." 
It  was  difficult  to  maintain  the  pitch  of  elegance  attained  by 
Crowne  in  the  following  quotation,  but  how  ludicrous  the 
effect  could  be  when  the  author  permitted  himself  to  mingle  his 
affected  phraseology  with  colloquial  directness  is  illustrated  in 
the  ensuing  one  from  The  Cyprian  Academy. 

^  Robert  Baron,  famous,  or  infamous  for  his  plagiarisms,  was  born  c.  1630. 
He  was  a  student  at  Cambridge  and  Gray's  Inn.  In  1647  he  published 
' EpoToirat7i/iou :  or  the  Cyprian  Academy,  and  c.  1650,  Pocula  Castalia, 
in  verse.  He  was  also  author  of  Mirsa:  a  tragedy;  Gripus  et  Hegio,  and 
Deormn  Dona.     Cf.  Joseph  Knight,  D.  N.  B. 

**  For  an  account  of  these  French  romances  see  Le  Roman  Sentimental 
avant  L'Astree  by  Gustave  Reynier,  particularly  pp.  188  to  198. 

"*  Dunlop,  History  of  Prose  Fiction,  ii.  563. 


41 

"  And  further  he  craved  of  her,  that  since  it  was  not  her  pleasure  so  much 
as  to  imparadise  his  form  in  her  thoughts  (for  her  eyes  were  something  cast 
aside  upon  the  wall,  showing  a  lofty  kind  of  humility)  but  to  make  an 
inanimate  creature  the  object  of  his  envy,  that  yet  she  would  permit  his 
lips  as  Pilgrims  from  his  heart  to  sacrifice  the  pure  oblations  of  his  love 
upon  her  hand,  that  pure  shrine  of  pureness,  and  there  to  inscribe  its 
image,  that  the  beauties  of  her  hand  might  challenge  remembrance  from  her 
thoughts,  of  the  humblest  of  her  servants,  and  the  most  passionately  devoted 
to  her  princely  vertues." 

"  Flaminius  saluted  him  [the  knight  carrying  off  the  unwilling  lady] 
with  this  challenge.  It  sufficeth  not  that  thou  hast  subdued  yonder  Petitoes 
of  Mars,  and  captivated  their  Lady,  Fortune  will  not  sell  her  at  so  under 
a  rate,  it  remaineth  that  you  vanquish  me  also  before  you  enjoy  her,  the 
wager  of  our  contention,  in  whose  defense  my  sword  (blushing  at  thy 
impieties)  shall  strike  thy  soul  to  Erebus,  and  compell  thee  to  garter  thy 
hose  with  thy  gutts.  The  strange  Knight  coyned  this  proud  reply  to  this 
unexpected  defy  ;  I  conceive  it  no  hard  taske  to  chastise  thy  insolency,  for 
I  take  thee  for  no  other  than  a  body  animated  by  a  Pythagorean  Transmi- 
gration, with  one  of  those  cowardly  souls  which  I  have  even  now  sent  to 
seek  new  lodgings." 

The  four  other  romances  we  have  to  consider  are  products 
of  a  later  period  and  reflect  the  taste  for  the  Spanish  setting 
and  compHcated  intrigue.  In  Diana,  Duchess  of  Mantua,  or 
the  Persecuted  Lover  (1678),  R.  Carleton  reverted  to  the 
sentimental  romance  of  the  sixteenth  century,  but  unfortu- 
nately he  adopted  the  Chinese  box  system  of  narration,  which 
makes  it  impossible  to  disentangle  the  story  of  Diana  and 
Frederick.  There  are  some  remarkably  good  comic  scenes, 
modelled  no  doubt  after  those  in  the  Argcnis.  The  peasant's 
account  of  the  murder  of  the  lady  whom  he  found  "  as  dead 
as  a  red  herring  "  is  in  its  simple  diction,  coarse  similes  and 
loquacious  repetition,  very  realistic,  and  contrasts  sharply  with 
the  rest  of  the  romance.  In  Taxila,  or  Love  preferred  before 
Duty  (1692)  by  "  W.  D.,  Gent.,"  the  not  unusual  theme  of  a 
persecuted  princess  refusing  the  favorite  son  of  her  step- 
mother for  a  poor  courtier  is  given  an  oriental  setting. 

Much  more  interesting  than  either  Diana  or  Taxila  is 
Cynthia;  zvith  the  Tragical  Loves  of  Ahnerin  and  Desdemona, 
advertised  in  the  Term  Catalogues  for  May,  1687,  as  "  Done 
by  an  English  Hand."  Evidently  it  long  remained  in  favor. 
The  undated  edition  in  the  Bodleian  is  called  the  "  eighth," 


42 

and  in  the  late  eighteenth  century  a  New  England  publisher 
passed  it  off  as  an  original  American  production."'^  The 
Heliodorian  story  of  "Cynthia"  is  quite  subordinated  to  that 
of  Almcrin  and  Desdemona  which  is  told  by  Almeryn  to 
Cynthia  and  her  lover,  whom  he  has  carried  off  in  one  of  his 
piratical  expeditions.  His  story  resembles  in  many  ways  the 
Spanish  tales  of  the  "  cloak  and  sword  "  order,  especially  The 
Liberal  Lover  of  Cervantes.  The  plot  is  the  usual  one  of  love 
contrary  to  the  commands  of  parents,  the  desertion  of  the 
hero  and  the  consequent  suicide  of  the  heroine.  The  use  of 
portents  is  an  interesting  feature.  For  example,  the  following 
passage  immediately  precedes  the  discovery  of  the  clandestine 
attachment  which  resulted  in  the  hero's  imprisonment  and 
his  consequent  desertion  of  the  heroine, 

"  In  my  way  homeward  my  spirits  began  to  grow  dull  and  heavy,  my 
mind  became  sad  and  melancholy,  I  found  myself  fearful,  yet  knew  no 
cause  I  had  to  fear.  On  the  sudden  three  drops  of  blood  distilled  from  my 
nose,  a  hare  thwarted  my  way,  and  a  night-raven  came  croaking  and  with 
her  dismal  note  hovered  over  my  head.  This  confirmed  me  in  my  augury 
that  something  ominous  and  fatal  did  attend  me." 

The  Entertaining  History  of  the  Amours  and  Adventures  of 
Solenus  and  Perrigonia,  the  first  story  in  The  Constant  Lovers^"^ 
by  John  Littleton  Costeker  belongs  to  the  eighteenth  century, 
Perrigonia  was  brought  up  by  her  man-hating  father  on  a 
desert  shore  and  kept  in  complete  ignorance.  When  she  was 
about  sixteen  her  father  brought  home  a  poor  youth  whom  he 
intended  to  kill  the  ensuing  day,  Perrigonia  took  pity  on  the 
victim  and  eloped  with  him  that  very  night.  Shortly  there- 
after she  was  separated  from  her  lover  and  trouble  began,  for 

"The  Bodleian  edition  is  probably  an  eighteenth  century  reprint,  for  the 
title-page  is  typical  of  that  century:  Cynthia;  with  the  Tragical  Account  of 
the  Unfortunate  Loves  of  Almerin  and  Desdemona.  A  Novel.  Illustrated 
with  a  Variety  of  the  Chances  of  Fortune:  moralized  with  many  useful 
Observations.     Done  by  an  English  hand. 

The  American  edition,  of  1798,  is  mentioned  by  Miss  L.  D,  Loshe  in 
The  Early  American  Novel,  New  York,  1907,  p.  17,  n, 

^  The  Constant  Lovers;  being  an  entertaining  history  of  the  amours  and 
adventures  of  Solenus  and  Perrigonia,  Alexis  and  Sylvia,  By  John  Littleton 
Costeker.     London,  1731. 


43 

to  poor  Perrigonia,  who  had  "  never  seen  mortal  other  than 
her  father  and  lover,"  all  cavaliers  looked  alike,  and  she  be- 
came involved  with  numberless  admirers.  All  sorts  of  diffi- 
culties arose  from  her  general  state  of  ignorance  and  "  inno- 
cence." This  very  curious  little  romance  was  probably  intended 
to  satirize  the  current  views  of  the  charms  and  advantages  of 
the  "  state  of  nature." 

In  1680,  romances  were  no  longer  fashionable,  yet  for  years 
inferior  works  of  this  general  type  were  written.  Such 
eighteenth  century  writers  as  Mrs.  Rowe,  Mrs.  Barker,  and 
even  Mrs.  Haywood,  took  occasion  to  praise  the  purity  of 
the  purpose  and  ideals  of  the  romances  as  opposed  to  the 
lewd  novels  of  their  own  day.  Mrs.  Barker,  in  her  endeavor 
to  restore  the  romance  to  its  old  prestige,  herself  contributed 
several  mediocre  examples.***  But  the  day  of  the  affected 
court  romances  had  passed — the  new  generation  demanded  not 
less  sentimentalism  or  romanticism,  but  a  closer  reproduction 
of  actuality. 

The  "  Anti-romances  " 

The  "  anti-romances "  form  a  large  and  heterogeneous 
group,  which  for  purposes  of  discussion,  it  seems  wise  to  limit, 
somewhat  arbitrarily,  to  those  narratives  animated  by  a  con- 
sciously anti-idealistic  and  anti-romantic  spirit,  thus  excluding 
that  large  group  of  narratives  which  though  essentially  real- 
istic are  not  satires  of  the  romantic  form  or  spirit.  Of  the 
anti-romances,  as  here  defined,  there  are  three  clearly  differ- 
entiated types :  the  comic  romance,  in  which  the  serious 
romance  is  burlesqued  by  representing  the  idealist  clashing 
with  the  stern  facts  of  actuality;  the  picaresque  miscellany," 
in  which  the  hero,  or  rather  anti-hero,  is  a  rogue  in  service 
and  the  theme  his  various  rogueries ;  and  finally,  miscellaneous 
satires. 

*^  Infra,  p.  145. 

**  Cf.  F.  W.  Chandler,  The  Literature  of  Roguery  and  Romances  of 
Roguery,  Pt.  i,  "The  Picaresque  Novel  in  Spain."  These  two  works  treat 
the  whole  matter  so  exhaustively  that  the  present  writer  has  merely  sought 
to  show  the  relation  of  the  rogue  story  to  the  novel  of  manners  and  senti- 
ment. 


44 

To  the  first  of  these  groups,  the  comic  romances,  belongs 
the  celebrated  Don  Qitixotc^'^'^  of  Cervantes,  upon  which  all 
succeeding  romances  of  the  type  were  more  or  less  closely 
modelled.  That  delightful  work  is  too  well-known  to  require 
comment,  but  in  passing,  we  may  note  that  its  rambling  struc- 
ture and  the  introduction  of  totally  irrelevant  stories  were 
the  features  most  easily  imitated.  The  popularity  of  Don 
Quixote  was  immediate,  and  as  great  in  France  and  England 
as  in  Spain.  It  was  left  for  France  alone,  however,  to  pro- 
duce worthy  successors.  Sorel  in  Le  Berger  Extravagant 
(1628),  and  more  particularly  in  Polyandre  (1648),  dropped 
the  pure  burlesque,  and  presented  with  much  grossness,  types 
and  episodes  which  he  had  observed  among  the  lower  classes. 
Furetiere  in  Le  Roman  Bourgeois  (1666),  and  Scarron  in 
Le  Roman  Comique  (1651),  showed  the  possibilities  of 
bourgeois  material;  and  finally  Lesage,  following  the  Histoire 
Comique  de  Francion  (1622),  of  Sorel,  combined  the  comic 
romance  and  picaresque  miscellany  in  his  inimitable  Gil  Bias 
(1715-35).  In  addition  to  these  notable  works,  there  were 
many  inferior  burlesques,  such  as  the  lively  Bussy-Rabutin's 
L' Histoire  Amoureuse  des  Gaules  (1665),  and  Perdou  de  la 
Subligny's  La  Fausse  Clelie  (1670).  Practically  all  the 
French  productions  were  translated  into  English: — The  Ex- 
travagant Shepherd,  in  1654;  Francion  in  1655;  The  Comical 
Romance  in  1670;  The  Mock  Clelia  in  1678;  and  the  Gargan- 
tua  of  Rabelais^"^  in  1653,  but  none  of  them  rivalled  the  Don 
Quixote  in  popularity.  Cervantes's  masterpiece,  or  rather  the 
first  part  of  it,  was  translated  by  Shelton  in  1612,  the  second 
part  was  added  in  1615,  and  a  complete  edition  printed  in  1620. 
A  new  version  was  made  by  J.  Phillips  in  1687,  and  throughout 
the  century  there  were  reprints,  abridgments  and  chapbooks. 

Popular  as  statistics  would  indicate  the  comic  romance  to 
have  been,  English  authors  were  not  stimulated  to  compete, — 
perhaps  the  very  abundance  of  the  foreign  narratives  checked 

^'^  El  ingenioso  hidalgo  Don  Quixote  de  la  Mancha,  Pt.  i.  Madrid,  1605. 
Pt.  ii,  1615.    Avellaneda's  continuation  appeared  in  1614. 

"^For  a  discussion  of  Rabelais  in  England,  see  Upham,  The  French 
Influence  in  English  Literature,  Ch.  v,  p.  219  sq.  It  contains  a  full  account 
of  the  translations  up  to  1660. 


45 

orginal  endeavor.  Whatever  the  cause,  the  fact  remains  that 
there  are  but  three  very  inferior  EngHsh  specimens, — Don 
Juan  Lambcrto  (1649-1662),  which  has  been  discussed  with 
the  chivalric  romances;  IVit  and  Fancy  in  a  Maze  by  S.  Hol- 
land (1656),^"-  and  The  Essex  Champion,  or  the  Famous  His- 
tory of  Sir  Belley  of  Bellerecay  and  his  Squire  Ricardo  (c. 
1685).  The  immediate  influence  of  the  comic  romances  on 
English  creative  art  is  to  be  found  in  the  drama,  in  the  satires, 
and  indirectly,  in  the  tone  of  the  short  realistic  tales  or 
"  novels,"  but  their  really  great  influence  was  first  exerted  in 
the  eighteenth  century,  when  Fielding,  Smollett,  and  lesser 
writers  infused  the  material  drawn  from  the  romances,  the 
new  novel  of  manners,  and  the  narratives  of  roguery  and  ad- 
venture, with  the  robust  and  wholesome,  if  somewhat  coarse, 
humor  of  Cervantes,  Scarron,  and  Lesage. 

On  the  whole,  even  less  influential  were  the  romances  of 
roguery  or  picaresque  miscellanies,  which  form  the  second 
group  of  anti-romances.  "  As  conceived  in  Spain  and  ma- 
tured in  France,  the  picaresque  novel  is  the  comic  biography 
(or  more  often  autobiography)  of  an  anti-hero  who  makes  his 
way  in  the  world  through  the  service  of  masters,  satirizing 
their  personal  faults,  as  well  as  their  trades  and  professions. 
It  therefore  possesses  two  poles  of  interest — one,  the  rogue  and 
his  tricks ;  the  other,  the  manners  he  pillories."^*''  In  Eliza- 
bethan literature,  this  type  of  fiction  reached  a  considerable 
degree  of  perfection,  as  is  attested  by  Nash's  Unfortunate 
Traveller;  or,  the  Life  of  Jacke  Wilton  (1598),  Breton's  Mis- 
eries of  Mamllia,  the  most  unfortunate  Ladie  that  ever  lived^°^^ 
(1599).  Chettle's  Pierce  Plainnes  seaven  Yeres  Prcntiship 
(i595)»  and  such  allied  forms  of  rogue  literature  as  the  tracts 
of  Greene  and  Dekker.  Yet  it  was  not  long  before  the  native 
works   were  completely  superseded  by   the  continental : — La 

'"*  Later  reprinted  as  Romancio-Mastix  in  1660,  and  still  later  as  The 
Spaniard;  or  Don  Zara  del  Foga,  translated  from  the  Spanish  by  Basilius 
Musophilus  in  171 9. 

"'  Chandler,  Literature  of  Roguery,  i.  5. 

'•"•No.  4  of  The  Wil  of  Wit,  Wit's  Will  or  WiVs  Wit,  Chuse  you 
Whether.  Compiled  by  Nicholas  Breton,  Gentleman,  1599.  Reprinted 
in  1606  and  ed.  by  J.  O.  Halliwell-Phillipps  in  i860. 


46 

Vida  dc  Lazarillo  de  Tonnes  was  translated  in  1568-9  andl 
reprinted  at  least  twenty  times  by  1740;  La  Dcsordenada 
Codicia  de  los  Biencs  Agenos  appeared  in  1638,  as  The  Sonne 
of  the  Rogue,  or  Politick  Thccfc;  Guzman  de  Alfarache, 
first  printed  in  English  in  1622,  went  through  fully  a 
dozen  editions  in  our  period.  During  the  years  from  1610, 
the  date  of  Dekker's  O  per  sc  O,  to  1700,  there  were  only 
three  or  four  English  contributions:  The  English  Rogue  by 
Head  and  Kirkman,  an  inferior  rifacimento  of  all  the  tales 
of  trickery  current  at  its  date  of  publication  (1665);  Kirk- 
man's  Unlucky  Citizen  Experimentally  Described  (1673), 
which  differs  from  the  norm  in  substituting  a  poor  tradesman 
for  the  rogue  in  service;  Teagiie  O'Divelly;  or  the  Irish  Rogue 
(1690),  a  cheap  tract;  and  The  Dutch  Rogue,  or  Guzman  of 
Amsterdam  (1683),  a  wretched  copy  of  the  Spanish  and  pos- 
sibly a  translation.  Picaresque  material  appeared  in  many 
of  the  novels  of  intrigue,  such  as  Mrs.  Behn's  Fair  Jilt,  in 
the  disgusting  memoirs  of  noble  rakes,"*  as  for  example,  in 
such  translations  as  Gallant  Memoirs,  Count  Brian,  Adven- 
tures of  a  Man  of  Honour,  and  finally,  in  reformative  tracts 
and  narratives  of  a  popular  nature,  of  which  the  best  example 
is  Bunyan's  Life  and  Death  of  Mr.  B adman.  The  form,  but 
not  the  matter  of  the  picaresque  is  utilized  in  a  curious  little 
work.  The  Compleat  Mendicant  (1699)  which  recounts  the 
adventures  of  "  an  unfortunate  gentleman "  as  a  student  at 
Oxford,  as  a  follower  of  a  divine,  as  a  teacher  and  as  a 
shepherd.  The  detail,  the  illusion  of  actuality,  the  insistence 
on  the  literal  truth  of  the  events  described,  the  earnestness 
and  common-sense  morality  have  led  the  compilers  of  the 
British  Museum  Catalogue,  following  earlier  bibliographers, 
to  attribute  it  to  Defoe,  but  such  authorities  as  Lee,  Aitken, 
and  Professor  Trent  have  rejected  it.  Whether  or  not  Defoe 
was  the  author  is  of  little  moment  for  the  Compleat  Mendicant 
had  no  imitators,  although,  curiously  enough,  it  was  reprinted 
in  Dublin  a  generation  later.  To  quote  Professor  Chandler 
once  more :  "  The  romance  of  roguery  languished,  to  be  revived 
only  in  the  second  decade  of  the  eighteenth  century  by  two 

^'^  Infra,  Chapter  II. 


47 

forces.  One  was  the  naturalism  and  character-drawing  of 
Defoe;  the  other  was  the  Hterary  inspiration  of  Lesage."^''^ 
Yet  Defoe  cannot  be  classed  with  writers  of  picaresque  ro- 
mances, for  his  narratives  of  roguery  were  developed  from 
the  popular  criminal  biographies  rather  than  from  the  Spanish 
literary  form,  and  differ  from  the  latter  not  only  in  structure 
and  in  emphasizing  character  instead  of  incident,  but  in  being 
quite  free  from  the  cynical  anti-idealistic  spirit. 

The  remaining  anti-romances,  which  constitute  the  third 
group,  are  of  no  distinct  genre,  but  are  narrative  satires  of 
many  varieties.  As  has  already  been  stated,  there  were  a  few 
imitations  of  the  Satyricon  of  Petronius,  such  as  the  Euphor- 
mio  of  Barclay,  and  the  Pantaleonis  Vaticinia  of  John  Hume, 
but  these  rare  Latin  works,  accessible  only  to  the  learned,  were 
uninfluential.  More  important  are  the  descriptions  in  which 
a  place,  institution,  person,  or  custom  is  caricatured  in  a  lively, 
ironical,  and  almost  invariably  scandalous  manner.  Such  for 
example  were  The  Academy  of  Love,  describing  ye  Folly  of 
Younge  Men  and  ye  Fallacy  of  Women  (1641),  a  Petronian 
satire  of  the  cult  of  Platonic  Love;  The  Ramble ;'^^^  The 
Adventures  of  Covent  Garden  in  imitation  of  Scarron's  '  City 
Romance '^^'^  (1699);  the  graphic  Amusements  Serious  and 
Comical  Calculated  for  the  Meridian  of  London^^^  (1700); 
Comical  Viezvs  of  London  and  Westminster  (1705)  ;  The  Mall 
(1709);  Description  of  Epsom  in  a  Letter  to  Eudoxid^^^^ 
(1711),  all  ostensibly  in  the  manner  of  Scarron;  a  Comical 
Description  of  a  Nunnery  (1700),  doubtless  provoked  by  the 

"'  Literature  of  Roguery,  i.  229 ;  ii.  284. 

'"*  Chandler,  The  Literature  of  Roguery,  ii,  150,  gives  the  date  as  1651, 
and  attributes  it  to  George  Fidge,  author  of  an  account  of  a  criminal 
named  Hind,  under  the  title  of  the  English  Guzman.  In  the  B.  M.  Cata- 
logue it  is  listed  as  anonymous  and  the  date  given  as  1730. 

""  The  author  really  followed  Furetiere's  Roman  Bourgeois. 

108  By  Tom  Brown  and  reprinted  with  his  Collected  Works  in  1707-08, 
171S,  1719-20,  1727,  1744,  :76o.  The  Amusements  are  really  a  free  and 
lively  translation  of  Dufresny's  Amusements,  in  which  London  has  been 
substituted  for  Paris,  Brown's  "  Indian  "  describes  the  people  he  meets 
and  the  resorts  he  frequents  almost  as  vividly  as  Defoe,  but  his  grossness 
and  savage  satire  are  most  repellant. 

^'•»»  By  John  Toland. 


48 

Letters  of  a  Portugese  Nun;  and  the  journalistic  London  Spy 
( 1703-09),  by  Ned  Ward.  Besides  these  descriptive  narratives 
there  were  character-sketches  like  the  Drudge,  or,  the  Jealous 
Extravagant  (1672);  The  Extravagant  Poet  (1682);  The 
Reformer  exposing  the  Vices  of  the  Age  in  Several  Chara<:- 
ters  (1700);  culminating  in  "The  Rake,"  the  "Pedant,"  and 
"The  Coquette"  of  Spectator  fame.  Finally,  there  were  proph- 
ecies and  visions  usually  more  or  less  political  in  nature,  such  as 
The  Man  in  the  Moon  telling  Strange  Fortunes  to  the  English 
People  (1609),  and  The  Highland  Prophecy  (1712).  The 
only  example  of  this  class  which  has  any  claim  to  literary 
merit,  or  which  attained  enough  popularity  to  be  influential, 
is  the  Spanish  Visions  and  discourses,  concerning  abuses,  vices 
and  deceits  in  all  offices  and  estates  of  the  ivorld  by  Ouevedo  y 
Villegas^^^  which,  first  translated  into  English  by  L'Estrange 
in  1667,  ran  through  twelve  reprints  by  1745,  besides  being 
burlesqued  in  verse  (1702),  and  in  the  New  Quevedo,  or, 
Visions  of  Charon's  Passengers  (1702). 

This  brings  us  to  the  end  of  our  survey  of  the  anti-romances, 
though  by  no  means  all  of  the  works  have  been  mentioned. 
Nevertheless,  the  content,  spirit,  and  structure  of  the  different 
types  are  sufficiently  apparent  to  enable  us  to  judge  of  their 
contribution  to  the  development  of  the  novel  of  manners. 
The  comic  romances,  as  we  have  seen,  provoked  no  worthy 
imitation  before  Fielding;  the  picaresque  miscellany  as  a  dis- 
tinct genre  died  out  except  in  sporadic  instances ;  the  various 
satires  died  a  natural  death  or  were  merged  with  other  contrib- 
utory forms.  The  great  contribution  of  the  anti-romances, 
then,  was  not  so  much  actual  material  or  structure,  as  the  train- 
ing of  readers  and  writers  of  all  classes  to  appreciate  the 
humorous  or  comic  view  of  life,  the  cultivating  of  a  taste  for 
robust  animalism  as  opposed  to  the  etherial  sentimentalism 
of  the  romances,  the  revealing  of  the  possibilities  of  low  life 
and  bourgeois  material,  the  realistic  depiction  of  a  definite,  con- 

^'^  Suenos  y  Discourses  de  verdades  descubridoras  de  Abusos,  Vicios  y 
Enganos  en  todos  los  Oficios,  y  Estados  del  Mundo  (1627),  by  Quevedo 
y  Villegas.  The  author's  Buscon  was  translated  in  1657  and  by  Capt.  John 
Stevens  in  1707. 


49 

Crete  background,  and  the  developing  of  a  vigorous,  colloquial 
style  for  purposes  of  narration,  although  not  as  yet  for  the  ex- 
pression of  emotion.  The  anti-romantic  fiction,  in  its  reaction 
from  the  idealistic,  reflective,  and  subjective  romances,  became 
too  cynical,  too  gross,  and  too  objective.  The  novel  of  man- 
ners lies  between  the  two  extremes,  and  already  there  were 
signs  of  its  development.  In  the  Complcat  Mendicant  there  is 
a  reaction  against  indecency  and  immorality  and  a  recognition 
of  the  ordinary  good  man  as  a  possible  hero.  And,  on  the 
other  hand,  realism  is  creeping  into  the  romances,  in  the  shape 
of  "portraits,"  allegory,  and  allusions  to  contemporary  events. 


CHAPTER   II 

THE  NOVEL 
(160O-17OO) 

The  novel  as  the  term  was  used  in  the  seventeenth  century 
signified  merely  "  a  short  tale,  generally  of  love,"^  and  was 
applied  to  all  narratives  which  seemed  short  in  comparison  with 
the  folio  romances.-  In  the  collection  of  Modern  Novels^ 
published  in  1692,  fully  one  fourth  of  the  stories  are  romances, 
one.  The  Emperoiir  and  the  Empire  Betrayed,  is  a  political  tract, 
another.  Instructions  to  a  Young  Nobleman,  is  a  manual  of 
behavior,  while  nearly  one  half  the  last  volume  is  occupied  with 
the  Dialogues  of  the  Dead.  Thus,  were  we  to  accept  a  defini- 
tion of  the  "  novel "  based  on  the  loose  usage  of  the  seventeenth 
century,  we  should  have  to  consider,  in  addition  to  many  di- 
verse types  of  fiction,  much  extraneous  material.  Although 
there  was  no  generally  recognized  limitation  to  the  use  of  the 
term  '  novel,'  there  were  several  sporadic  attempts  to  distin- 
guish between  the  novel  and  other  forms  of  prose  narrative. 
'  Congreve  made  a  unique  efifort  to  differentiate  between  the 
I  novel  and  the  romance  in  the  introduction  to  his  Incognita. 

"  Romances  are  generally  composed  of  the  constant  Loves  and  invincible 
Courages  of  Hero's  and  Heroines,  Kings  and  Queens,  Mortals  of  the  first 
Rank,  and  so  forth :  where  lofty  Language  miraculous  Contingencies  and 
impossible  Performances,  elevate  and  surprise  the  Reader  into  a  giddy 
Delight,  which  leaves  him  flat  upon  the  Ground,  whenever  he  gives  off, 
and  vexes  him  to  think  how  he  has  suffer'd  himself  to  be  pleased  and  trans- 
ported,  concern'd  and   afflicted  at  the  several   Passages  he   has   read.  .  .  . 

^  S.  Johnson,  Dictionary  of  the  English  Language.  Reprint  of  1773.  An 
interesting  discussion  of  some  of  these  novelettes  from  the  point  of  view 
of  the  evolution  of  the  short  story  is  to  be  found  in  H.  S.  Canby's  The 
Short  Story,  IIL,  vii.  11 7-1 77. 

'  Cf.  R.  Steele,  The  Tender  Husband,  Sc.  2,  Act  IV.,  "  though  our  amours 
can't  furnish  out  a  romance  they'll  make  a  pretty  novel." 

^  See  Bibliography,  under  "  Collections." 
50 


51 

Novels  are  of  a  more  familiar  nature ;  come  near  to  us  and  represent  to 
us  Intrigues  in  practice,  delight  us  with  Accidents  and  odd  events  but  not 
such  as  are  wholly  unusual  or  unpresidented,  such  as  not  being  so  distant 
from  our  Belief  bring  also  the  pleasure  nearer  us.  Romances  give  more  of 
Wonder,  Novels  more  Delight.  And  with  reverence  be  it  spoken  and  the 
Parallel  kept  at  due  Distance,  there  is  something  of  equality  in  the  Propor- 
tion which  they  bear  in  reference  to  one  another,  with  that  between  Comedy 
and  Tragedy." 

On  the  other  hand,  the  distinction  between  the  novel,  a  ficti- 
tious narrative,  and  the  history,  an  authentic  chronicle,  while 
nowhere  clearly  expressed,  was  generally  recognized.  The  col- 
lected works  of  Airs.  Behn  and  Mrs.  Haywood,  for  instance, 
are  divided  on  this  basis  into  "  novels  and  histories,"  and  such 
titles  as  The  Amours  of  Philario  and  Olinda,  or  The  Intreagiies 
of  Windsor.  A  Genuine  History,  are  common.  At  the  same 
time,  purely  fictitious  tales  were  called  "  histories,"  and  in  some 
instances  both  terms  were  employed  on  one  title  page,  as  The 
History  of  the  Loves  of  Lysander  and  Sahina:  a  Novel. 
Neither  of  these  distinctions  can  be  considered  satisfactory, 
and,  as  some  limitation  is  necessary  for  convenience  and  con- 
ciseness in  discussion,  we  shall  arbitrarily  confine  our  attention 
to  those  narratives  of  a  fictitious  nature  in  which  the  realistic 
element  predominates.  This  leaves  for  our  consideration  ap- 
proximately one  hundred  novels  of  which  less  than  a  quarter 
are  native  works  and  fully  two  thirds  translations  or  adapta- 
tions from  the  French. 

During  the  first  fifty  years  of  the  century  the  Italian  novelle 
of  Boccaccio,  Bandello,  Cinthio,  and  their  French  imitations  by 
Belleforest  and  Margaret  of  Navarre  were  practically  dis- 
placed by  the  long  sentimental  romances.  In  fact,  brief  tales, 
if  we  exclude  the  short  romances  and  the  novelle  interspersed 
through  the  longer  works,  were  printed  only  about  a  dozen 
times  between   1600  and    1660.*     During  the   later  years  of 

*The  Decameron  was  reprinted  three  times  (1620,  1625,  1655-57);  The 
Exemplary  Novels  of  Cervantes  in  various  combinations  appeared  in  1638 
and  1640;  the  Heptameron  of  Margaret  of  Navarre  in  1654;  M.-jjrhiavelli's 
The  Divell  a  Married  Man  in  1647,  and  a  seemingly  original  production, 
Triana,  or  a  Threefold  Romanza,  in  1654  and  again  in  1664.  There  were 
also,  two  quaint  and  vulgar  English  collections,  The  Tinker  of  Turvey, 
reprinted  in  1608  and  1630,  and  IVestzvard  for  Smelts,  in  1620.  The  former 
first  appeared  in  1590,  the  latter  probably  goes  back  to   1603. 


the  century,  on  the  contrary,  there  was  a  great  demand  for 
short  realistic  narratives,  and  we  find  EHzabethan  versions  and 
contemporary  modernizations  of  the  Itahan  tales  filling  second 
class  collections,  such  as  A  Choice  Banquet  of  zvitty  jests,  rare 
fancies,  and  pleasant  novels  (1665),  The  Delightful  Novels 
(1686),  The  Banquet  for  Gentlemen  and  Ladies  (second  edl- 
iton,  1703),  The  Poiver  of  Love  in  Seven  Novels  (1720)  by 
Mrs.  Manley,  the  Winter  Evening  Tales  (1723),  and  Wit  in 
all  Shapes  (1734),  in  which  deceived  husbands,  seduced  heir- 
esses, cheating  gallants,  and  miserly  uncles  figure  largely  in 
plots  too  coarse  to  permit  discussion.  The  directness  and 
rapidity  of  the  narratives  may  be  gathered  from  the  following 
speech  made  by  a  nameless  heroine  to  a  passing  hero  who 
happened  to  rescue  her  from  death  at  the  hands  of  her  wicked 
uncle. 

"  Sir,  I  never  inquired  whether  you  was  married  or  no,  nor  was  it  a 
question  ever  in  my  thoughts  before ;  if  you  are  not  and  will  accept  of  my 
person  with  the  Fortune  that  attends  it,  I  hope  to  be  happy  in  your  em- 
braces."    He  accepted. 

These  however,  diflfered  widely  from  the  fashionable  novels 
of  the  seventeenth  century.  The  Italian  novelle  were  in  prac- 
tically all  instances  the  point  of  departure,  but  the  Spanish  and 
French  writers  wrought  fundamental  changes  before  the  brief 
tale  was  revived  in  England.  The  first  novels  to  regain 
popular  favor  were,  naturally  enough,  the  romantic  Spanish 
tales,  many  of  which,  indeed,  hover  on  the  borderland  of  pure 
romance. 

Novels  of  The  Cloak  and  Sword 

Stories  of  crossed  loves  and  struggles  between  love  and  duty 
were  favorite  themes  with  the  Spanish.  A  much  used  formula 
was  that  of  the  constant  loves  of  two  young  persons,  betrothed 
under  compulsion  to  others  and  upon  the  discovery  of  their 
clandestine  attachment  summarily  separated  and  most  harshly 
treated.  Endings  differed;  the  lovers  might  successfully  elope, 
or  they  might  both  be  killed  in  the  attempt,  or  the  hero  might 
yield  to  his  hard-hearted  guardians  and  the  heroine  die  of 


63 

grief,  and  so  on.  Almost  equally  popular  was  the  combination 
of  the  seduction  and  crossed  love  motifs  in  which  the  deserted 
girl  pursued  her  recreant  lover.  The  difference  between  the 
Italian  and  Spanish  novels  is,  however,  not  so  much  a  matter  of 
plot  as  of  treatment,  for  whatever  the  plot,  the  latter  all  possess 
the  many  incidents,  surprises,  duels,  mistaken  identities,  and 
picturesque  settings,  which  characterize  the  drama  of  the  Cloak 
and  Sword.  The  most  artistically  perfect  stories  are  to  be 
found  among  the  Exemplary  Novels  of  Cervantes — The  Two 
Damsels,  The  Force  of  Blood,  The  Little  Gypsy,  The  Spanish- 
English  Lady — but  they  are  by  no  means  the  most  typical,  for 
they  are  much  shorter  than  the  average  and  almost  unique  in 
utilizing  the  every  day  life  of  the  working  classes  as  a  setting 
for  romantic  and  aristocratic  love  tales.  Such  rather  picar- 
esque novels  as  The  Loving  Revenge,  or  Wit  in  a  IVoman;*^ 
The  Lucky  Escape,  or  the  Jilt  Detected;  The  Witty  Extrava- 
gant, or.  The  Fortunate  Lover,  and  the  French  imitations  of 
the  Spanish,  such  as  The  Pilgrim  by  the  prolific  Bremond  and 
the  Spanish  Histories  of  the  Countess  D'Aulnoy  are  perhaps 
more  nearly  representative.  The  Exemplary  Novels  were  very 
popular  in  England.  They  were  translated  as  a  whole  by 
Mabbe  in  1640  and  reprinted  in  1694,  1708  and  1728.  Indi- 
vidual tales,  frequently  without  any  acknowledgment  of  the 
author  and  under  a  different  title,  appeared  much  oftener  in 
collections  such  as  Four  Tragicomical  Histories  of  our  Late 
Times,  i.  e..  The  Force  of  Blood,  The  Spanish^English  Lady, 
The  Lady  Cornelia  and  the  Tzco  Damsels  (1638),  The  Annals 
of  Love  (1672),  and  The  Spanish  Decameron  (1687). 

English  stories  of  this  nature  are  few  in  number  and  poor 
in  quality.  Triana;  or,  a  Threefold  Romanza  of  Mariana, 
Paduana,  and  Sabina  made  its  appearance  anonymously  in  1654, 
but  in  a  reprint  of  1664  it  is  attributed  to  Thomas  Fuller. 
Mariana  and  Paduana  are  conventional  stories  of  intrigue  with 
romantic  accessories  and  a  picturesque  Spanish  setting. 
Sabina^  has  the  more  unusual  theme  of  a  wife  brought  to 

*"  This  is  a  translation  of  "  El  Amor  en  la  venganga  "  from  Tardes  Entrc- 
tenidas  (1625)  of  Alonso  de  Castillo  Solorzano,  author  of  La  Garduna. 

^  Sabina  was  induced  by  her  husband's  implicit  confidence  in  her  virtue 
to  confess  to  him  her  amour  with  the  wicked  Niclokaya.     That  disappointed 


54 

repentance  by  a  kind  and  virtuous  husband.  The  intrigue, 
however,  does  not  center  about  that  interesting  point,  but  about 
the  just  punishment  of  her  wicked  lover. 

Less  moral  and  more  consciously  wrought  is  The  Player's 
Tragedy,  or,  Fatal  Love,  a  new  Novel  (1693),  by  an  anony- 
mous, and  presumably  juvenile,  writer.  The  author,  after 
stressing  the  dignity  and  worth  of  players  as  a  fit  subject, 
explains  that  "  'Tis  the  fatal  end  of  their  amours,  not  their 
lives  that  I  here  pretend  to  attempt  in  this  novel,  having 
furnished  myself  with  the  best  information  I  could  get,  to 
render  it  perfect  and  satisfactory.  ...  I  do  not  tell  the  head 
and  original  of  the  heroine.  I  propose  only  one  great  action  as 
my  aim."  After  such  a  clear  preface  and  deliberate  acceptance 
of  the  laws  of  the  pseudo-classic  tragedy  the  ensuing  medley  of 
crossed  loves  is  disappointing.®  The  author  was  interested 
not  in  the  intrigue,  but  in  the  character  of  Montano,  and  much 
of  the  clumsiness  of  the  story  results  from  his  endeavors  to 
enable  the  reader  to  enter  into  the  hero's  emotions  and 
thoughts.  The  vacillating  Montano  is  strongly  reminiscent  of 
Hamlet  but  the  monologues  and  the  chorus  go  back  to  Greek 
tragedy.  Poor  as  it  is.  The  Player's  Tragedy  is  an  interesting 
precursor  of  the  subjective  character  study. 

lover  resolved  to  get  revenge,  and  to  that  end  purchased  the  assistance  of 
the  Abbot.  Through  the  connivance  of  the  latter,  Sabina  was  seized  et  the 
confessional  and  thrown  into  the  deep  abbey  cellar  to  die  of  starvation. 
Several  days  later  she  was  found  in  a  dying  condition  by  a  neighbor  (who 
happened  to  be  excavating  at  that  end  of  the  Abbey),  and  carefully  nursed 
back  to  life.  The  precaution  was  taken,  however,  to  keep  the  matter  abso- 
lutely secret.  In  the  meantime,  the  villains  took  every  means  to  fasten  the 
crime  of  murdering  the  woman  upon  her  husband.  Finally,  they  brought 
the  matter  to  court  and  would  surely  have  won  their  case  if  they  had  not 
been  suddenly  confronted  by  Sabina,  and  upon  the  strength  of  her  story, 
themselves  convicted  and  punished. 

'  Bracilla,  wife  of  Montano,  a  soldier,  loved  and  was  loved  by  the  actor 
Monfredo.  Montano,  though  loved  by  Caelia,  remained  loyal  to  Bracilla. 
Greatly  perturbed  by  the  discovery  of  his  wife's  amour,  racked  by  divers 
passions,  all  of  which  he  disclosed  in  sententious  periods  to  a  couple  of  old 
men,  who  replied  with  lengthy  moralizations,  he  finally  killed  his  rival  and 
fled.  And  thus  the  story  ends,  leaving  the  reader  to  imagine  what  finally 
became  of  Bracilla,  Montano,  Cselia  and  the  long  suffering  wife  of  Monfredo. 


55 

The  Brothers:  or  Treachery  Punished.  Interspersed  with 
the  Adventures  of  Don  Alvarez,  Don  Lorenzo  and  .  .  . 
Mariana,  by  "a  Person  of  Quality"  bears  the  date  1730,  but 
probably  belongs  to  a  much  earlier  period.  It  resembles  such 
fifteenth  century  romances  as  Arnalte  and  Lucenda'  in  having 
the  stories  told  in  a  gloomy  cavern  under  the  auspices  of  a 
mysterious  and  melancholy  stranger. 

Historical  Novels 

A  romantic  glamour  also  attached  itself  to  the  historical 
novels.  These  the  French  novelists  elaborated  from  the  brief 
Italian  accounts  of  historic  and  pseudo-historic  episodes  of  a 
more  or  less  scandalous  character  by  introducing  Spanish  in- 
trigue, preciense  discourse,  Parisian  manners,  and  now  and 
again,  a  vague  intimation  that  contemporaries  might  be  dis-j 
covered  under  the  mask  of  historic  names.  In  the  majority' 
of  the  thirty  and  more  historical  novels  translated  into 
English,  historical  personages  are  the  center  of  the  action,  but 
in  a  few  rare  instances  the  history  serves  as  a  setting  for  the 
love  story  of  more  or  less  imaginary  characters.  The  Princess 
of  Clcves  immediately  comes  to  mind,  but  this  little  masterpiece 
by  Madame  de  La  Fayette  is  too  well-known  to  require  com- 
ment and  too  superior  to  be  regarded  as  in  any  way  typical. 
Although  it  was  translated,  reprinted  once  or  twice,  and  crudely 
dramatized  by  Lee,*  its  careful  psychological  analysis,  high 
moral  tone,  idealism,  and  emotional  restraint,  appealed  neither 
to  the  readers  nor  to  the  writers  of  the  Restoration.  |  Most  of 
the  historical  novels  were  no  more  than  elaborations  of  cele- 
brated incidents  and  familiar  traditions  involving  illustrious 
characters  of  the  past,  and  more  particularly  of  the  two  or  three 

'  The  original  Spanish  version,  Tractado  de  amores  de  Arnalte  e  Lucenda 
enderescado  a  las  damas  de  la  reyna  nuestra  senora  by  Diego  Hernandez  de 
San  P(i)edro  appeared  in  1491.  An  English  version  of  the  Italian  transla- 
tion was  made  as  early  as  1575  by  Claudius  Hollyband.  In  1608,  it  was 
re-translated  and  published  with  an  Italian  text  by  C.  Desainbrensis  in  The 
Italian  School-Maister.  It  was  reprinted,  without  the  Italian,  in  1660  as 
Arnaldo,  the  Injured  Lover.  For  a  discussion  of  the  romance  and  its  influ- 
ence see  Reynier,  Le  Roman  Sentimental  avant  I'Astrce,  p.  66  sq. 

'The  Princess  of  Cleve,  by  Nathaniel  Lee,  1689. 


56 

centuries  immediately  preceding.  Sometimes,  however,  epi- 
sodes were  fabricated  to  explain  an  obscure  point  or  throw  new 
light  on  a  particular  character  or  episode."  A  fairly  accurate 
idea  of  the  range,  method,  and  spirit  of  this  type  of  fiction  may 
be  gathered  from  a  few  specimens  dealing  with  English 
subjects. 

Most  amusing  are  two  stories  having  for  their  theme  the 
flirtations  of  Queen  Elizabeth  with  Essex/"  Leicester  and  num- 
erous other  courtiers.  On  the  whole,  they  were  hostile  to  the 
English  heroine,  not  hesitating  to  call  her  a  heretic,  a  usurper, 
and  an  agent  of  Anti-christ.  Most  damaging  of  all  to  the 
Queen's  character  is  the  Duke  of  Alangon  which  represents  her 
as  the  murderer  of  her  half-sister,  the  unacknowledged  daugh- 
ter of  Catharine  of  Arragon. 

According  to  this  tale,  Alengon  was  the  Queen's  real  favorite,  and  him 
she  had  determined  to  marry,  when  by  a  deliberate  blunder  on  the  part  of 
the  jealous  Leicester,  she  discovered  the  Duke's  passion  for  her  ill-treated 
half-sister.  The  wily  Elizabeth  dissembled  her  chagrin,  pretended  repent- 
ance for  her  former  behavior,  and,  as  an  earnest  of  greater  good  to  come, 
made  her  sister  a  present  of  a  pair  of  gloves,  which  she  had  carefully 
poisoned.  The  unsuspecting  Marianne  at  once  tried  them  on,  and  within  a 
few  hours  had  fallen  a  victim  to  Elizabeth's  perfidy,  but  not  before  she  had 
acquainted  her  lover  with  the  cause  of  her  death.  The  Queen  thus  got 
rid  of  her  rival,  but  she  did  not  attain  her  end,  for  the  heart-broken  Duke 
"  reflecting  on  the  dangers  ensuing  from  so  perfidious  a  character,"  speedily 
returned  to  his  native  land. 

^  The  theory  of  the  matter  is  clearly  put  by  the  "  Person  of  Honour  " 
who  compiled  or  translated  the  Annals  of  Love  (1672),  a  series  of  very 
brief  stories  drawn  from  Spanish,  English,  and  French  history. 

"  When  the  history  of  Spain  tells  me  a  sovreign  Countess  of  Castile  fol- 
lowed a  poor  Pilgrim  into  France,  I  cannot  imagine  things  could  run  so 
high  in  a  moment ;  they  must  see  one  another,  they  must  meet,  and  discourse, 
before  she  could  come  to  so  strange  a  resolution.  I  have  augmented  the 
history  therefore  with  several  enterviews  and  amorous  dialogues  of  mine 
own  ;  if  they  are  not  what  they  really  spake,  they  are  at  least  what  they 
might." 

"T/i^  Earl  of  Essex  and  Queen  Elizabeth,  1650.  Reprinted  in  1680  and 
contained  in  Mod.  Nov.,  vol.  i.  The  Duke  of  Alangon  and  Queen  Elizabeth, 
Mod.  Nov.,  vol.  i. 


57 

Less  lively  is  a  narrative  dealing  with  an  earlier  period  in ) 
English  history,  The  Amours  of  Edzvard  /F."  which  purports^ 
to  be  an  account  given  by  the  Queen-Mother  to  her  daughter. 
Curiously  enough  it  makes  no  reference  to  the  celebrated  Jane 
Shore.  A  more  extraordinary  production  is  Mack-Beth^^l 
(1708),  which  by  making  license  the  ruling  passion  of  the  heroj 
of  his  villainous  wife,  and  of  all  their  associates,  reduces  the 
old  legend  to  a  series  of  gross  intrigues.  In  The  English  Prin-I 
cess,  or  the  Dutchess  Queen  (1678),  we  have  a  Restoration! 
version  of  the  story  Mr.  Major  has  familiarized  to  us  in  When 
Knighthood  Was  in  Flozver,^'^  and  the  two  afford  an  enlighten- 
ing contrast.  In  both  the  interest  centers  around  the  love 
affairs  of  Mary  and  Brandon/^  but  in  the  former  these  are 
complicated  by  the  gross  amours  of  Henry,  Dorset,  Suff'olk  and 
other  courtiers,  and  there  is  no  attempt  as  in  the  later  version 
to  idealize  the  characters  or  to  elaborate  a  picturesque  setting. 
In  short,  there  was  no  desire, in,  tl>is,  pr,  for  that  matter,  in  any 
of  the  novels  dealing  with  historical  personages,  to  escape  from 
the  present  to  a  glamour-covered  past ;  on  the  contrary,  it  was 
an  attempt  to  explain  the  past  in  the  terms  of  contemporary 
society. 

The  English  produced  only  one  work  of  this  type,  but  many 
of  the  translations  are  so  elaborated  and  re-worked  that  they 
bear  Little  resemblance  to  the  originals.  The  "  Person  of 
Honour  "  who  translated  Don  Heneriques  de  Castro,^^  a  series 

"  The  Amours  of  Edward  IV.  An  Historical  Novel.  By  the  Author  of  I 
the  Turkish  Spy,  1700.  There  is  no  evidence,  to  my  knowledge,  to  indicate] 
that  Marana,  Midgley,  Dr.  Manley,  or  any  person  whose  name  is  connected 
with  the  Turkish  Spy,  c.  1698,  was  concerned  with  the  narrative,  so  that 
it  may  be  a  publisher's  advertisement  or,  again,  may  be  by  Bradshaw  or  I 
some    other   hack-writer   in   Midgley's    employ.  ' 

"  Hypolitus,  Earl  of  Douglas,  containing  some  Memoirs  of  the  Court  of 
Scotland  with  the  Secret-History  of  Mack-Beth.  Translated  from  the 
French  of  M.  C.  de  La  Mothe,  Countess  d'Aulnoy. 

"  When  Knighthood  Was  in  Flower,  by  Edwin  Caskoden  (pseud.  Charles 
Major).     Indianapolis,  1896. 

"  This  same  Brandon  is  the  hero  of  the  story  in  Boyle's  English  AdvenA 
tures  (1676). 

^^ Don  Heneriques  de  Castro;  or,  the  Conquest  of  the  Indies.  A  Spanish 
Novel.  Translated  out  of  the  Spanish  by  a  Person  of  Honour,  London, 
1685.     In  Mod.  Nov.,  vol.  i. 


58 

of  interwoven  love  stories  in  which  the  scene  shifts  from 
Europe  to  America,  and  which  makes  love,  instead  of  lust  of 
gold,  the  incentive  for  the  wholesale  butchery  of  the  Indians 
during  the  conquest  of  Peru,  stated  very  frankly  in  his  preface 
that  he  had  greatly  improved  the  novel,  "  by  combining  two  of 
the  characters,  continuing  the  story  after  the  sacrifice  of  the 
Indians,  cutting  down  the  details  concerning  the  Italian  wars, 
and  adding  from  other  sources  new  incidents."  Such  a  re- 
vised translation  almost  deserves  to  be  classed  as  an  indepen- 
dent production.  English  Adventures  (1676)  by  a  "Person 
of  Honour,"  generally  supposed  to  be  Roger  Boyle,  Lord 
Broghill,  is  a  very  interesting  example  of  the  way  in  which  the 
Restoration  mingled  past  and  present,  romance  and  cynical 
realism,  pastoral  and  court  intrigue.  The  story  opens  with  the 
death  of  Henry  VII.  The  new  king  upon  the  pretense  of 
retiring  to  mourn  in  solitude,  escapes  from  court  incognito,  to 
go  hunting  with  his  favorite  Howard.  The  scene  shifts  im- 
mediately to  the  hunt,  which  gives  Boyle  an  opportunity  to  de- 
scribe "  Aurora  and  the  beauties  of  her  train."  A  passerby, 
Brandon  by  name,  hearing  the  baying  of  the  hounds,  turns 
into  the  woods  to  join  the  party.  As  he  hesitates  which  way  to 
ride,  he  sees  a  young  couple  sauntering  along  in  true  Arcadian 
fashion  and  so  engrossed  in  one  another  that  they  are  unaware 
of  the  approach  of  a  huge  stag.  Brandon's  shouts  awaken 
them  to  their  danger,  whereupon  the  lady  faints  and  her 
cowardly  escort  flees.  Brandon  rushes  to  the  lady's  side,  and 
at  the  same  time  Henry  comes  forward  from  the  opposite 
direction.  The  fair  Isabella  has  scarcely  recovered  conscious- 
ness when  Howard  appears  and  offers  his  good  offices.  All 
three  men  promptly  fall  in  love  with  the  incomparable  beauty, 
and  their  relations  become  so  strained  that  Brandon,  who  per- 
ceives himself  outclassed,  tells  the  history  of  his  life  to  divert 
their  minds  and  keep  the  peace.  This  proves  to  be  precisely  the 
story  of  Otway's  Orphan^'^  (1680).  Isabella  then  tells  how  she 
came  to  be  wandering  in  the  woods  with  the  cowardly  Good- 

"  Roden  Noel,  editor  of  the  Mermaid  edition  of  Otway,  states  that  the 
same  story,  or  a  similar  one,  forms  the  basis  of  an  earlier  play,  The  Hog 
Hath  Lost  His  Pearl  (1612-13),  by  Robert  Tailor. 


win,  to  whom  she  has  been  affianced  by  her  father.  Here  there 
is  another  break  in  the  story,  Isabella  is  married  to  the  craven 
Goodwin,  and  the  interest  shifts  to  the  intrigues  of  Howard  and 
Henry  with  her.  The  King  wins  her  affections,  and  to  show 
his  implicit  faith  both  in  her  and  in  his  rival,  appoints 
Howard  her  guardian.  The  latter  by  over-assiduous  watching, 
angers  Isabella,  who  in  exasperation  pretends  to  be  in  love  with 
a  page.  Henry  being  informed  of  this  amour  very  nearly  ruins 
Isabella,  but  she  saves  herself  by  the  common  romance  device 
of  proving  the  youth  to  be  a  girl  who  has  assumed  that  dis- 
guise, in  the  hope  of  winning  the  affection  of  Howard. 

Veiled  Histories,  Pseudo-Journals,  Etc. 

The  transition  from  scandal  of  the  past  to  scandal  of  the 
present  was  both  natural  and  easy.  Instead  of  writing  directly 
like  the  old  Italians  or  our  reporters,  writers  took  shelter 
behind  feigned  names,  veiled  histories,  pseudo-memoirs  and 
the  like.  Least  common  are  tales  of  romantic  intrigue  in 
which  the^fiharacters  are  given  "  feigned  names."  The  best 
repre^eritaitivels  A  Tragi-comical  History  of  Our  Ozvn  Times 
imdeK^he-^RiS^roivcd  Names  of  Lisander  and  Calista  trans- 
lated from  the  French  of  Vital  D'Audiger  by  a  "  W.  D."  in 
1627,  and  twice  reprinted  and  partly  retranslated  by  1652. 

The  secret  histories  are  of  many  varieties.  Some  were 
purely  political,  as,  for  example.  An  Historical  Romance  of 
the  Wars  between  the  mighty  Giant  G.  and  the  Great  Knight 
Nasonius  (i.  e.,  Louis  XIV  and  William  III),  Others  com- 
bined politics,  romance,  and  gossip  in  the  manner  of  the 
Perplex' d  Prince,  in  which  the  King  (Charles  II)  is  depicted 
as  induced  by  his  villainous  brother  (the  Duke  of  York)  to 
deny  the  legitimacy  of  his  son  (the  Duke  of  Monmouth). 
Still  others,  such  as  the  popular  pseudo-letters  of  The  Turkish 
Spy'^^  (1698),  were  discursive  compilations  of  political  and 
social  news.  More  notorious  than  these  were  the  collections 
of  scandalous  town  gossip  with  a  political  animus,  such  as 
The  Secret  History  of  Queen  Zarah  and  the  Zarasians  (1705),^" 

"Infra,  p.  io6,  n. 
"Attributed  to  Mrs.  Manley. 


60 

Mrs.  Manley's  The  Secret  Memoirs  and  Manners  of  several 
Persons  of  both  sexes  from  the  Nezv  Atalantis  (1709),  Me- 
moirs of  Europe  at  the  close  of  the  eighth  century.  Written 
by  Egenhardus,  secretary  and  favorite  to  Charlemagne  (1710), 
and  Mrs.  Haywood's  Memoirs  of  an  Island  Adjacent  to  Utopia 
(1725).  In  the  Nezi)  Atalantis,  Astrea  and  deserted  Virtue, 
make  a  tour  of  the  island  under  the  guidance  of  Intelligence, 
i.  e.  Scandal,  who  points  out  notable  persons  and  recounts  the 
more  important  episodes  in  their  lives.  Sigismund  II  is 
Charles  II;  the  Prince  of  Tameran,  James  II;  Jeanatin, 
Mrs.  Jennings ;  the  Marquis  of  Caria,  the  Duke  of  Marlbor- 
ough, and  so  on.  In  Mrs.  Haywood's  Utopia,  a  stranger  nar- 
rates his  experiences  while  viewing  the  island  under  the  guid- 
ance of  Cupid,  who  incidentally  gives  him  much  information 
about  the  social  relations  of  the  inhabitants  both  collectively 
and  individually.  Many  of  the  stories  are  similar  to  the 
worst  of  the  Italian  novclle,  and  it  is  highly  probable  that  much 
of  the  indecent  scandal  of  the  period  was  made  up  out  of 
those  old  tales. 

During  the  latter  half  of  the  seventeenth  century  no  form 
of  literature  was  more  popular  than  the  gossipy  biographical 
narrative,  whether  it  took  the  form  of  autobiography,  biog- 
raphy, journal-book,  or  memoir.^^^  Howell,  Loveday,  Digby, 
the  Duke  of  Wharton,  the  Duchess  of  Newcastle  and  dozens 
of  others,  recounted  their  experiences  with  the  minutest  detail 
and  an  apparent  endeavor  to  present  the  literal  truth.  Every 
prominent  prince,  adventurer,  general,  pirate,  and  rogue  had 
his  life  chronicled.  Count  Tekli,  Count  D'Aubusson,  Don 
Carlos,  Casimir,  King  of  Poland,  Captain  Jones,  Captain  Hind 
and  Pirate  Avery,  were  all  made  the  heroes  of  sensational  nar- 
ratives. Even  in  the  most  authentic  of  these  works  there  was 
bound  to  be  an  element  of  fiction,  and  in  the  majority  "truth 
was  to  advantage  dressed"  and  facts  modified  to  conform 
more  closely  to  romance.     Sir  Kenelm  Digby,-"  for  example, 

""  Cf.  A.  R.  Burr,  The  Autobiography,  A  Critical  and  Comparative  Study, 
1909,  esp.  pp.  157-171,  and  Appendix  B. 

'^  Private  Memoirs,  c.  1627.  Quoted  by  Upham,  French  Influence  in 
English  Literature,  pp.  369-70. 


61 

deliberately  wrought  his  courtship  of  Vcnetia  Stanley  into  the 
form  of  the  fashionable  romances,  and  the  account  of  the 
Life  and  .  .  .  Piracies  .  .  .  of  Captain  Avery,  both  in  the 
anonymous  1700  version  and  the  1719  amplification  by  Defoe, 
is  practically  wholly  fabulous."  In  such  narrations  as  Casimer, 
King  of  Poland,  great  liberties  were  taken  and  many  episodes 
interpolated  by  the  narrator.  The  translators  in  the  same  spirit 
rendered  their  texts  very  freely  and  sometimes,  as  in  the  case 
of  the  Memoirs  of  the  Life  and  Adventures  of  Signor  Rocelli," 
a  spurious  part  was  added.  From  the  semi-genuine  biography 
and  memoir  to  the  pseudo-biography  and  memoir  is  a  natural 
transition.  Like  the  secret-histories  they  were  utilized  for 
many  purposes.  The  Memoirs  of  Mile,  de  St.  Phale  recounts 
her  attempted  conversion  by  some  Jesuits.  Many  were  polit- 
ical tracts.  The  Duke  of  Marlborough  and  Godolphin  were 
often  satirized,  the  former  as  Prince  Mirabel,"  the  latter  as 
E —  of  G — d — n.  Even  the  King  was  not  free  from  this 
form  of  personal  abuse,  if,  as  seems  likely,  he  was  the  subject 
of  The  Compendious  History  of  George  the  Farmer.  On  the 
other  hand,  these  memoirs  were  often  used  as  strong  partizan 
pleas,  three,  for  example,  having  been  written  on  behalf  of 
Harley.  Such  works,  however,  unless  devoting  considerable 
space  to  the  "  amours  "  of  the  hero,  were  regarded  as  tracts, 
rather  than  as  novels.  Gross  personal  gossip  and  slander  fur- 
nished the  sole  interest  in  such  narratives  as  Atn&urs  of  the 
Sultana  of  Barbary  (1680),  i.  e.  the  Duchess  of  Portland;  The 
Princess  of  Fess,  or  the  Amours  of  the  Court  of  Morocco 
(1682)  f*  and  The  Amours  of  Messalina,  late  Queen  of  Albion 

-'  Modern  Novels,  vol.  iv. 

^  Done  into  English  from  the  second  edition  of  the  French  of  the  Abbe 
Olivier  (by  D.  Defoe?),  1709.  There  was  original  matter  added  in  the 
edition  of  1713,  and  in  1724  a  continuation  appeared,  for  which  no  French 
original  seems  to  have  been  found. 

,  -^  The  History  of  Prince  Mirabel's  («.  e.  John  Churchill,  Duke  of  Marl- 
borough's) infancy,  rise  and  disgrace,  with  the  sudden  promotion  of  Novicus 
(i.  e.  Harley),  In  zvhich  are  intermix'd  all  the  intrigues  relating  to  those 
adventures :  as  also  the  characters  of  the  old  and  nezv  favorites  in  the  court 
of  Britomartia.  Collected  from  the  Memoirs  of  a  courtier  lately  deceased. 
3  pts.,  17 12.      This  is  sometimes  attributed  to  Defoe. 

^*  Modern  Novels,  vol.  iv. 


G2 

(1689).  In  the  History  of  the  Marcchal  dc  la  Fcrtc;"  Casi- 
mcr,  King  of  Poland;  The  Cheating  Gallant,  or  Count  Brion;^^ 
and  Gallant  Memoirs,  or  Adventures  of  a  Person  of  Quality," 
the  element  of  personal  slander  has  almost  disappeared  and  we 
find  the  "  historians  "  utilizing  the  novcUe  and  the  drama.  The 
flippant  aristocratic  rakes  who  figure  in  most  of  these  narra- 
tives have  much  in  common  with  the  roguish  picaros  and  are 
distant  precursors  of  the  Lovelaces  of  the  ensuing  century. 

These  sensational  compilations  possess  no  artistic  merits  to 
outweigh  the  essentially  narrow  and  ephemeral  character  of 
the  subject-matter,  but  their  closeness  to  actuality,  familiar 
style,  vivid  pictures,  and  pervading  vigor  were  invaluable  train- 
ing in  realistic  narration.  Particularly  helpful  to  the  develop- 
ment of  narrative  art  was  the  memoir,  for  by  its  very  structure 
it  gave  a  fortuitious  unity  to  the  series  of  adventures  and 
afforded  an  excellent  opportunity  for  the  subjective  analysis 
and  development  of  character.  Furthermore,  the  authentic 
works  showed  the  writers  of  fiction  how  to  produce  the  illu- 
sion of  truth  by  the  use  of  abundant  detail  and  a  simple  con- 
fidential style. 

The  Novel  of  jManners 

The  Italian  novclle  of  manners  were  in  nearly  all  instances 
stories  of  indecorous  intrigues  and  cheats  perpetrated  by  char- 
acters of  fixed  types.  The  wife  deceives  her  husband,  the  son 
cheats  his  father,  the  maid  betrays  her  mistress,  the  appren- 
tice cheats  his  master,  and  we  are  called  upon  to  laugh  with 
the  cheater.  "  To  the  victor  belong  the  spoils,"  and  no  sym- 
pathy is  wasted  on  the  victim.  The  French  retained  the  direct- 
ness and  clearness  of  their  models,  and,  unfortunately,  the 
harshness  and  indecency  as  well,  but  by  complicating  and 
elaborating  the  intrigue,  by  reproducing  in  detail  the  externals 
of  Parisian  life,  by  introducing  the  superficial  features  of  the 
precieuse  manners,  and  by  the  use  of  much  dialogue  and  a 
colloquial  style,  they  wrought  a  great  and  fundamental  change. 
Slowly  the  set  plots  with  fixed  types  yielded  to  stories  drawn 

""  Ibid.,  vol.  vii.  ='  Ibid.,  vol.  ii.  "  Ibid.,  vol.  ix. 


63 

from  actual  life,  and  the  characters  began  to  assume  indi- 
viduality. The  most  notable  advance,  perhaps,  is  in  the  matter 
of  style.  Essentially  the  slang)',  yet  withal  witty,  conversation 
of  the  Smart  Set,  it  has  little  resthetic  merit;  but  after  the 
endless  periods  and  inane  conceits  of  the  romances,  its  life 
and  vigor  are  stimulating.  These  changes  came  about  gradu- 
ally. One  writer  combined  Spanish  romance  with  everyday 
episodes  and  manners,  another  depicted  unusual  characters  in 
an  old  plot,  another  exploited  new  material  but  in  a  dull 
wooden  style,  while  another  retold  an  old  story  in  a  style  so 
vivid  as  to  give  it  new  life.  Most  of  these  novels  found  their 
way  into  English,  but  fortunately  the  English  themselves  wrote 
a  sufficient  number  to  enable  us  to  follow  the  development  by 
studying  the  native  productions. 

The  Til\nsition 

Of  the  combination  of  the  romantic  Spanish  intrigue  with 
prosaic  contemporary  manners,  the  English  novels  afford  three 
excellent  examples.  In  1693,  appeared  Virtue  Rezvarded;  or 
the  Irish  Princess,^^  by  an  anonymous  writer  and  dedicated 
"to  Marinda  from  whom  is  taken  the  name  and  chief  beauties." 
Among  the  prisoners  taken  after  the  battle  of  the  Boyne  was 
Marinda,  who  though  "  She  ne'er  saw  courts,  yet  courts  could 
have  undone."  With  this  peerless  country  beauty  the  con- 
quering general  immediately  fell  in  love,  and  she,  by  maintain- 
ing her  "  virtue "  so  won  his  regard  that  he  made  her  his 
wife.  Interwoven  with  this  Richardsonian  story  is  the 
pathetic  tale  of  Faniaca,  a  deserted  Indian  maid,  one  of  the 
earliest  sentimental  stories  concerning  the  trusting  and  much 
abused  good  savage.  Other  threads  complicate  the  action,  and 
the  whole  is  hampered  by  detailed  descriptions  of  gross  adven- 
tures, the  camp  life  of  the  soldiers,  and  lengthy  disquisitions 
on  statecraft,  contemporary  politics,  and  morals.  The  style, 
even  in  the  scenes  from  camp  life,  is  stiff  and  often  ludi- 
crously pompous. 

Far  more  diverting  is   The  Adventures  of  the  Helvetian 

'^  Mod.  Nov.,  vol.  xii. 


64 

Hero  with  the  Youug  Countess  of  Albania;  or  the  Amours  of 
Armadorous  and  Vinccntia:  a  Novel  (1694). 

Armadorous,  a  handsome  Switzer,  sees  in  church  the  beautiful  young 
countess  of  Albania.  Instantly  both  fall  in  love  and  promptly  both  begin 
to  pine  away.  Drusilla,  Vincentia's  maid,  discovers  the  cause  of  her  lady's 
disorders,  and  immediately  proceeds  to  "  capture  the  man."  Dressed  as  a 
peasant,  she  ogles  him  in  church,  gives  him  mysterious,  vague  notes,  and  in 
short,  gets  him  thoroughly  excited  and  bewildered.  In  the  meantime,  Vin- 
centia  frequents  the  church  and  leaves  the  rest  to  fate  and  Drusilla.  Her 
mother  has  an  intuition  that  something  is  amiss  and  reads  her  a  lecture  on 
the  danger  of  clandestine  attachments  and  the  evil  character  of  Switzers. 
By  artful  lying  Vincentia  escapes  detection,  but  the  mother  is  so  far  from 
being  convinced  that  she  whisks  her  daughter  away  to  their  country  seat 
early  the  next  morning.  The  distressed  girl  now  recalls  a  dream  "  both  pleasant 
and  unpleasant,"  and,  interpreting  it  to  suit  her  desires,  decides  to  write 
frankly  to  Armadorous.  After  one  or  two  epistles  have  been  exchanged, 
he  commits  the  indiscretion  of  presenting  both  himself  and  his  letters  to 
the  dowager.  Then  follows  an  excellent  scene  between  Vincentia  and  her 
mother,  in  which  the  heroine  declares  the  entire  story  a  fraud  and  is  forth- 
with ordered  to  "  deny  it  to  his  face."  To  this  she  gladly  consents  in 
order  to  have  the  opportunity  to  talk  with  him,  and,  the  mother  being  oppor- 
tunely called  away,  she  explains  the  necessity  for  deception  and  plans  out 
their  future  course.  After  many  attempts,  they  succeed  in  eloping,  are 
forgiven  by  the  dowager,  return  to  her,  and  live  happily  for  a  short  time, 
all  in  accordance  with  the  first  part  of  the  aforementioned  dream.  But 
one  unlucky  day  Armadorous  inquires  about  the  estate,  for  "no  Switzer  fights 
where  no  money  is."  This  enquiry  greatly  angers  Vincentia,  who,  as  it 
turns  out,  had  years  before  settled  her  estate  on  her  mother.  The  lovers 
quarrel,  separate,  and  enter  suits  for  divorce.  Before  the  case  reaches  the 
court,  the  hero  is  taken  seriously  ill,  which  leads  him  to  repentance  and 
arouses  a  desire  for  reconciliation.  He  sends  pitiful  notes  to  the  now 
obdurate  Vincentia,  and  as  soon  as  he  is  well  enough,  returns  to  his  wife, 
but  although  he  sings  and  pleads  outside  her  window,  he  receives  no  re- 
sponse. "  So  he  wanders  like  ^neas  from  place  to  place,  modestly  telling 
the  story  of  his  woes  and  always  winning  the  sympathy  of  the  ladies." 
Indeed  so  strong  does  public  opinion  become  that  Vincentia  finally  takes 
him  back.  "  Which  tale,"  concludes  the  author,  "  should  be  a  warning  to 
quarrelsome  lovers." 

Less  sprightly  is  the  tale  of  the  Unhappy  Lovers;  or,  The 
Timorous  Fair  One,  being  the  Loves  of  Alexander  and  Mel- 
lecinda  (1694). 


65 

The  perfect  hero  Artaxander^  loves  the  incomparable  beauty  Mellecinda, 
who  reciprocates  his  affection.  Her  mother,  with  hardhearted  perversity, 
prefers  the  foolish  poltroon  Lucidor.  So  the  mother  manoeuvres  very  clev- 
erly to  have  Artaxander  given  a  distant  army  command,  and,  upon  his  receiv- 
ing a  slight  wound,  sedulously  spreads  the  report  that  he  has  been  killed. 
Upon  the  receipt  of  the  news  Mellecinda  falls  very  ill,  but  after  lying 
several  weeks  at  death's  door,  improves  sufficiently  to  be  moved  by  her 
mother  to  the  country  estate  of  the  detested  Lucidor.  But  alas  for  those 
well  laid  plans !  Artaxander,  his  wound  having  been  healed,  passes,  on  his 
way  home,  the  estate  of  Lucidor,  and  with  the  assistance  of  his  valet 
obtains  several  interviews  with  Mellecinda.  He  urges  her  to  elope,  but 
she  hesitates  and  puts  him  off,  and,  before  she  makes  up  her  mind,  her 
"  indiscretion  in  staying  abroad  too  late  "  leads  to  the  discovery  of  the 
clandestine  interviews,  which  are  thus  brought  to  a  summary  close.  Then 
the  mother,  by  bribing  the  valet  and  forging  cruel  notes  from  Mellecinda, 
drives  Artaxander  to  such  despair  that  he  seeks  death  in  battle.  Yet  the 
scheming  mother  does  not  succeed  in  marrying  Mellecinda  to  her  favorite, 
for  the  night  that  Artaxander  dies,  at  the  exact  moment  that  his  soul  is 
leaving  his  body,  he  appears  to  Mellecinda  in  a  dream,  and,  without  waiting 
for  further  tidings,  she  knows  that  "  her  lover  is  no  more  "  and  forthwith 
enters  a  nunnery  "  to  await  her  release  from  so  cruel  a  world." 

These  three  stories  illustrate  the  transition  from  the  ro- 
mance to  the  idealistic  novel  of  manners.^*^  The  plots  are 
intrigues  but  not  of  the  conventional  type  and  our  sympathy 
is  with  the  victims  not  the  villains.  The  characters  are  not 
heroic,  not  even  markedly  romantic;  but,  on  the  other  hand, 
they  are  not  quite  easy  and  natural.  As  for  the  style,  it  varies 
from  the  rhetorical  phraseology  of  the  romances  in  the  emo- 

^  Throughout  the  story  the  hero  is  consistently  called  Artaxander  instead 
of  Alexander. 

*•  These  novels  in  many  ways  resemble  a  group  of  narratives  which 
appeared  in  France  about  1600  and  are  described  in  considerable  detail  by 
G.  Reynier  in  Le  Roman  Sentimental  avant  L'Astrce,  ch.  xii,  pp.  300  to 
313.  There  is,  so  far  as  I  have  been  able  to  discover,  no  record  that  Les 
chasts  et  heureux  Amours  de  Clarimond  et  Antonidc,  by  Escuteaux,  Paris, 
1601  ;  La  Vivante  Filonie,  by  Faure,  Paris,  1605 ;  or  Lcs  constant's  et 
infortiiHcs  Amours  de  Lintason  avec  I'infidcle  Palinoc,  by  de  la  Regnery, 
Paris,  1 601,  were  translated,  yet  the  English  works  resemble  them  in  so 
many  points  that  I  feel  they  were  in  some  measure  indebted  to  them.  M. 
Reynier's  description  indicates  that  the  plots  were  much  simpler  than  in 
the  English  stories  and  by  omitting  all  mention  of  humorous  passages,  he 
implies  that  humor  was  not  present,  or  at  least  not  so  prominent  a  feature 
as  in  the  English  examples. 


66 

tional  outbursts,  to  bright  colloquial  diction  in  the  dialogues. 
They  show  also  another  influence  which  had  much  bearing 
on  the  novel  of  manners,  namely,  that  of  the  contemporary 
comedy. 

Narrative  Comedies 

Restoration  comedy  is  remarkably  readable.  It  depends  for 
its  success  not  so  much  on  its  theatrical  qualities  as  on  the 
clever  manipulation  of  a  complicated  and  artificial  intrigue, 
on  the  clashing  of  the  incongruous,  and  on  the  brilliant 
repartee  of  the  dialogues.  It  is  hard,  cynical,  superficial, 
and  often  indecent,  all  of  which  characteristics  it  shares  with 
the  old  novelle,  but  it  possesses  a  freshness  and  brilliancy  all 
its  own.  Moreover,  this  comedy  held  a  certain  prestige 
and  a  well  recognized  status  in  the  literary  world.  It  was 
natural,  then,  that  the  novelists  working  with  the  same  mate- 
rial, but  in  a  form  only  partially  developed  and  only  beginning 
to  be  recognized,  should  turn  to  comedy  for  suggestions.^^ 
The  influence  of  comedy  can  be  traced  in  practically  all  of  the 
novels  of  the  period,  but  it  is  particularly  evident  in  a  small 
group  which  may  be  called  Narrative  Comedies.  The  Helvetian 
Hero  might  almost  be  so  classed,  for  the  humor  is  largely  due 
to  the  cross  purposes  of  the  characters  and  the  verbal  mis- 
understandings. There  are  many  episodes  which  would  be 
most  effective  on  the  stage.  Take  the  amusing  scene  in  which 
Vincentia,  having  denied  all  knowledge  of  the  letters  Arma- 
dorous  had  presented  to  her  mother,  was  forced  to  deny  her 
letters  to  his  face  and  to  the  satisfaction  of  the  angry  dowager 
and  the  mystification  of  Armadorous,  took  the  notes  and 
solemnly  declared,  "  I  swear  I  never  wrote  this  (looking  at  one 
the  maid  had  penned)."  These  humorous  bits,  however, 
are  few  and  far  between,  and  not  the  head  and  front  of  the 

^'  Many  of  the  Restoration  comedies  were  based  on  the  French  novels ; 
for  example,  A  Fool's  Preferment,  by  Durfey,  is  founded  on  The  Humours  of 
Bassett,  the  same  author's  The  Intrigues  of  Versailles,  on  The  Double 
Cttckold  and  The  Amorous  Jilt,  Dryden's  Assignation,  or  Love  in  a  Nun- 
nery, on  Constance,  the  fair  Nun  and  Scarron's  Comical  Romance,  and  his 
Spanish  Fryar  largely  on  The  Pilgrim. 


67 

whole,  as  in  the  case  of  some  six  short  novels  now  to  be  con- 
sidered. 

The  History  of  the  Loves  of  Lysander  and  Sabina:  a  Novel 
(1688),  is  a  most  entertaining  story  written  in  a  manner  truly 
diverting. 

Lysander,  a  soldier  of  fortune,  upon  being  forbidden  to  marry  the  English 
Sabina,  went  to  Holland  to  divert  his  mind,  and  there  met,  and  was  com- 
pletely charmed  by  Clarinda.  He  followed  her  to  Spain,  but  their  affection 
was  so  intense  that  it  exhausted  itself !  He  began  to  look  for  an  excuse  to 
leave  and  she  to  urge  her  father  to  provide  her  with  a  suitable  husband. 
At  this  critical  moment,  he  received  a  letter  from  the  almost  forgotten 
Sabina  and  resolved  to  return  to  her  at  once,  and  at  the  same  time,  Clarinda 
received  word  of  her  betrothal  and  orders  to  proceed  immediately  to  the 
family  seat  of  her  fiance.     So  it  happened  that, 

"  They  both  began  their  journey  on  the  same  day,  and  both  under  false 
pretences.  And  though  they  had  been  very  well  content  with  the  whole 
truth,  yet  neither  of  them  durst  begin  to  declare.  At  parting  they  took  a 
very  formal  and  composed  leave,  without  the  least  transport  or  passion,  at 
which  both  wonder'd  extreamly.  After  parting  the  only  thing  they  were 
each  of  them  very  solicitous  about,  was  the  great  trouble  and  perplexity 
which  would  seize  upon  the  other  when  the  mystery  came  to  be  revealed. 
Lysander  doubted  how  poor  Clarinda  would  receive  the  news  of  his  depar- 
ture for  England,  and  her  greatest  affliction  was  to  think  how  he  would 
endure  to  hear  of  her  marriage.'"- 

Four  years  later  appeared  Incognita:  or  Love  and  Duty 
Reconciled  by  Congreve,  who,  with  his  usual  affectation,  wrote 
under  the  pseudonym  of  "  Cleophil."  The  preface  in  which 
he  so  carefully  distinguished  between  the  novel  and  the 
romance  has  become  famous,  and  has  already  been  quoted  in 
part.  Proceeding  from  his  general  premise  that  "  Romances 
give  more  of  wonder.  Novels  more  delight,"  he  draws  an 
analogy  between  fiction  and  the  drama,  and  lays  down  certain 
laws  which  he  intends  to  follow  in  his  novel. 

"  And  with  reverence  be  it  spoken  and  the  parallel  kept  at  a  due  distance, 
there  is  something  of  equality  in  the  proportion  which  they  bear  in  refer- 
ence to  one  another,  with  that  between  comedy  and  tragedy.  Since  all 
traditions  must  indisputably  give  way  to  the  drama,  and  since  there  is  no 
possibility,  of  giving  that  life  to  the  writing  or  repetition  of  a  story  that  it 
has  in  the  action,  I  resolved  in  another  beauty  to  imitate  dramatick  writing, 

"P.  135. 


68 

namely  in  the  design,  contexture,  and  result  of  the  plot.  I  have  not  observed 
it  before  in  a  novel.  The  design  of  the  novel  is  obvious,  after  the  first 
meeting  of  Aurelian  and  Hippolito  with  Incognita  and  Leonora,  and  the 
difficulty  is  in  bringing  it  to  pass,  maugre  all  apparent  obstacles  within  the 
compass  of  two  days.  How  many  probable  casualities  intervene  in  oppo- 
sition to  the  main  design  viz.  of  marrying  two  couples  so  oddly  engaged  in 
an  intricate  amour,  I  leave  the  reader  at  his  leisure  to  consider ;  as  also 
whether  every  obstacle  does  not  in  the  progress  of  the  story  act  as  subser- 
vient to  the  purpose,  which  it  at  first  seems  to  oppose.  In  a  comedy  this 
would  be  called  the  unity  of  action ;  here  it  may  pretend  to  no  more  than 
the  unity  of  contrivance.  The  scene  is  continued  in  Florence  from  the  com- 
mencement of  the  amour ;  and  the  time  from  the  first  to  last  is  but  three 
days." 

Practically  every  critic  who  has  discussed  Incognita  at  all, 
has  censured  it  upon  the  ground  that  it  fails  to  follow  in 
any  way  the  rules  the  author  laid  down  in  his  very  interest- 
ing preface,  but  bearing-  in  mind  the  nature  of  Restoration 
comedy,  it  seems  to  me  that  it  exactly  conforms  to  Congreve's 
canons.  It  is,  as  might  be  inferred,  nothing  more  nor  less  than 
a  series  of  amusing  scenes  connected  by  sprightly  narrative. 
The  humor  arising  from  the  deliberate  confusing  of  identities 
and  purposes  and  from  the  dramatic  situations  is  heightened  by 
witty  asides.  It  is  quite  apparent  that  Congreve  visualized  the 
scenes,  we  feel  he  saw  the  actor  as  he  penned  such  a  descrip- 
tion as  the  following: 

"  But  Aurelian,  as  if  he  had  mustered  up  all  his  Spirits  purely  to  acquit 
himself  of  that  passionate  harangue,  stood  mute  and  insensible,  like  an 
Alarum  Clock  that  had  spent  all  its  force  in  one  violent  emotion." 

Undoubtedly  much  of  the  humor  lies  in  the  style  and  in  the 
very  amusing  digressions.  Congreve  was  by  no  means  the 
first  to  make  use  of  the  digression ;  we  find  it  in  Nash,  in  all 
four  of  the  novels  we  have  just  been  discussing,  as  well  as  in 
the  burlesque  Zelinde,  but  Congreve  was  the  first  to  employ  it  so 
largely  and  so  consciously.  His  little  digression  on  digressions 
is  delightful,  and  many  of  his  short  asides  are  quite  in  the  spirit 
of  Thackeray. 

"  Now  the  Reader  I  suppose  to  be  upon  thorns  at  this  and  the  like  imper- 
tinent digressions,  but  let  him  alone  and  he  will  come  to  himself;  at  the 
which  time,  I  think  fit  to  acquaint  him,  that  when  I  digress,  I  am  at  that 


69 

time  writing  to  please  myself;  when  I  continue  the  thread  of  the  story,  I 
write  to  please  him ;  supposing  him  a  reasonable  man,  I  conclude  him 
satisfied  to  allow  me  this  liberty,  and  so  I  proceed."^* 

And  again, 

"  So  that  although  Leonora  was  indeed  mistaken,  she  could  not  be  said 
to  be  much  in  the  wrong.  I  could  find  it  in  my  heart  to  beg  the  reader's 
pardon  for  the  digression,  if  I  thought  he  would  be  sensible  of  the  civility, 
for  I  promise  him,  I  do  not  intend  to  do  it  again  throughout  the  story, 
though  I  make  never  so  many,  and  though  he  take  them  never  so  ill." 

Witty  passages  are  so  numerous  that  it  is  difficult  to  choose 
what  to  quote,  but  the  following  burlesque  will  probably 
suffice. 

"  At  that  (as  Aurelian  tells  the  story)  a  sigh  diffused  a  mournful  sweetness 
through  the  air,  and  liquid  grief  gently  fell  from  her  eyes,  triumphant 
sadness  sat  upon  her  brow,  and  even  sorrow  seemed  delighted  with  the 
conquest  he  had  made.  See  what  a  change  Aurelian  felt.  His  heart  bled 
tears  and  trembled  in  his  breast,  sighs  struggling  for  a  vent  had  choked 
each  other's  passage  up ;  cold  doubts  and  fears  had  chill'd'em  as  with  a 
sudden  frost,  and  he  was  troubled  to  an  excess  ;  yet  knew  not  why.  Well, 
the  learned  say  it  was  sympathy ;  and  I  am  always  of  the  opinion  of  the 
learned,  if  they  speak  first."** 

The  remaining  narrative  comedies,  if  they  may  be  so  called, 
more  closely  resemble  the  French.  The  Generous  Rivals;  or 
Love  Triumphant  (1716),  is  the  best. 

Vulpone,  the  avaricious  uncle  of  the  heiress  Dorinda,  has  planned  to 
marry  her  to  the  wealthy  Phylostratus,  but  she  prefers  the  poor  Paneretus, 
and  he  the  poor  Caelia,  cousin  to  Dorinda.  In  order  to  communicate  with 
Caelia,  Phylastratus  readily  makes  use  of  his  favor  with  Vulpone  to  act  as  a 
go-between  for  Dorinda  and  Paneretus.  The  lovers  themselves  are  for  a 
while  in  ignorance  of  the  real  feelings  and  motives  of  each  other  and  as 
much  fun  arises  out  of  their  misunderstandings  as  out  of  the  bewilderment 
of  old  Vulpone.  References  to  Spring  Garden,  Whitehall  and  similar  places 
give  a  good  deal  of  local  color. 

The  style  is  colloquial  and  vigorous  with  occasionally  such 
vivid  bits  as  this  : 

Phylastratus,  seeing  her  come  sailing  towards  him,  as  'twere  with  a 
brisk  gale,  immediately  rose  up  in  order  to  carry  on  the  encounter  with  the 
better  advantage. 

"P.  II.  =»P.  97-98. 


70 

The  Rival  Mother  (1692),  deals  with  a  popular  French 
theme  in  a  conventional  manner. 

Asteria,  a  widow,  had  long  been  wooed  by  Tazander,  who  fell  in  love  with 
her  daughter,  Eliciana,  who  in  turn  was  loved  by  Oxaris.  The  mother  was 
naturally  grieved  when  Tazander  asked  for  the  hand  of  her  daughter,  but 
seemingly  consenting,  substituted  her  own  name  in  the  contract.  Eliciana, 
though  broken-hearted,  determined  to  be  obedient,  and  after  much  suffer- 
ing was  rewarded  by  Tazander's  renouncing  her  in  favor  of  her  mother. 

The  Reformed  Coquet  by  Mrs.  Davys,  which  did  not  appear  till 
1724,  shows  the  influences  of  the  eighteenth  century  didac- 
ticism, but  in  many  ways  resembles  Incognita. 

Amoranda,  a  wealthy  heiress  and  a  great  flirt,  takes  pleasure  in  the 
attentions  of  Lofty  and  a  host  of  Flutters  and  Froths.  A  young  lord,  the 
guardian's  candidate  for  her  husband,  goes  to  live  in  the  young  lady's 
establishment  in  the  guise  of  an  adviser  and  dear  friend  of  her  guardian. 
In  the  course  of  a  few  weeks,  he  rescues  her  from  many  questionable 
situations,  shows  her  the  wickedness  and  frivolity  of  her  numerous  suitors, 
and  completely  wins  her  regard,  whereupon  he  takes  off  his  disguise  and 
reveals  the  ideal  lover.  This  is  one  of  the  earliest  appearances  in  fiction 
of  the  perfect  prig  of  which  Sir  Charles  Grandison  is  the  consummate 
example. 

In  style,  scenes,  names  and  general  effect  it  is  allied  to  the 
narrative  comedies,  while  in  purpose  and  spirit  it  suggests  the 
novels  of  Richardson,  and  the  edifying  tales  of  Mrs.  Rowe. 

The  Portuguese  Letters 

Before  passing  to  the  work  of  Mrs.  Behn  it  will  be  neces- 
sary to  take  into  consideration  one  other  influence,  perhaps  the 
greatest  single  influence  of  the  century,  namely  the  Letters  of  a 
Portuguese  Nun.^^    The  first  edition,  a  French  translation,  was 

'°  The  Letters  of  a  Portuguese  Nun.  Translated  by  Edgar  Prestage,  Port- 
land, Me.,  Thos.  Mosher,  1900.  This  is  a  reprint  of  D.  Nutt's  edition 
(London,  1897),  itself  a  revision  of  the  1893  edition  printed  by  the  Con- 
stable Press  and  limited  to  500  copies. 

For  a  discussion  of  the  problems  see :  Cordeiro :  Soror  Marianna.  A 
Frier  a  Portuguesa  (Lisbon,  1888,  sec.  ed.  1891),  which  Prestage  quotes  as 
a  definitive  study,  and  E.  Gosse,  "  A  Nun's  Letters."  Fortn.  Review,  vol. 
XLIX,  0.  s.,  p.  S06. 


71 

published  by  the  Parisian  bookseller  Claude  Barbin  in  1669, 
and  in  turn  translated  into  English  by  Roger  L'Estrange  in 
1678.  From  that  time  until  the  present  day  there  has  been 
much  discussion  as  to  their  authenticity,  but  scholars  seem  to 
have  decided  that  they  are  the  genuine  letters  of  Marianne 
Alcoforado  to  Noel  Bouton,  Marquis  of  Chamily  and  St. 
Leger.  A  pitiful  story  of  passionate  love,  despair,  and  proud 
resolve,  is  revealed  in  these  five  letters  in  which,  to  quote 
L'Estrange,  the  deserted  woman  "  expostulated  the  business  " 
with  her  lover.^''  The  impropriety  of  the  subject  and  the  com- 
plete self-abandonment,  appealed  strongly  to  the  sensation- 
loving  seventeenth  century.  Here  was  none  of  that  ethereal, 
dignified  love  of  the  romances,  but  a  violent  passion,  of  the 
earth  earthy,  expressed  with  that  wealth  of  detail  dear  to  the 
realists.  The  heroine  retraced  and  fondly  lingered  over  every 
circumstance  in  the  history  of  her  love,  she  deliberately  wrought 
up  her  emotions,  she  appealed  to  her  lover  with  pathetic  tender- 
ness, she  luxuriated  in  self-pity  and  gave  herself  up  to  despair 
in  a  way,  which,  in  spite  of  her  terrible  earnestness,  verges  on 
sheer  sentimentality. 

"Why  did  you  not  leave  me  in  the  repose  of  my  cloister?  Had  I  done 
you  any  wrong?  Yet  pardon  me,  I  impute  nothing  to  you;  I  have  no  right 
to  think  of  blame ;  I  accuse  only  the  severity  of  my  fate :  in  separating  us, 
it  has  inflicted  all  the  evil  that  it  could.  .  .  .  Adieu  !  I  know  not  how  to  quit 
this  paper ;  it  will  fall  into  your  hands.  Would  the  same  happiness  were 
mine!  "" 

"  Were  it  possible  for  me  to  quit  this  miserable  cloister,  I  would  not  wait 
in  Portugal  for  the  fulfillment  of  your  promise.  Regardless  of  appearances, 
I  would  fly  to  seek  you,  love  you,  and  follow  you  through  the  world.  I 
dare  not  flatter  myself  that  this  can  ever  be ;  I  will  not  cherish  a  hope  that 
would  assuredly  yield  me  some  pleasure ;  henceforth  I  will  be  sensible  to 
grief  alone."  ^ 

"  I  go  as  seldom  as  possible  out  of  the  room  where  you  have  been  so  many 
times,  and  I  look  incessantly  at  your  portrait,  which  is  a  thousand  times 

^Letters  from  a  Portuguese  Nun  to  an  Officer  in  the  French  Army. 
Translated  by  W.  R.  Bowles,  edition  of  181 7.  Reprinted  by  Brentano,  New 
York,  1904.  The  quotations  are  taken  from  Brentano's  edition.  In  Pres- 
tage's  edition  the  Letters  follow  a  different  order,  the  one  now  believed  to 
be  chronological. 

"  P.  66. 

"P.  66. 


72 

dearer  to  me  than  life.  It  afifords  me  some  pleasure;  but  it  likewise  causes 
m€  a  great  deal  of  anguish  when  I  think  that  I  shall,  perhaps,  ne^er  see 
you  again."  '^ 

"The  officer  has  waited  long  for  this  letter:  I  had  resolved  to  write  in  a 
style  that  should  not  displease  you :  but  what  an  extravagant  letter  have  I 
written — I  must  conclude — Alas!  I  cannot  resolve  to  do  it.  Adieu!  I 
suffer  more  in  concluding  this  letter  than  you  did  in  leaving  me.     Adieu!** 

"  How  dear  you  are  to  me !  Oh,  how  cruel  you  are  to  me !  You  never 
write  to  me — I  cannot  refrain  from  telling  you  that  once  more — I  am 
beginning  again,  and  the  officer  will  be  gone — No  matter — let  him  go  !  I 
write  more  for  myself  than  you,  I  only  seek  to  console  myself.  .  .  .  What 
have  I  done  that  I  should  be  thus  miserable,  and  why  have  you  embittered 
my  life?     Oh  that  I  had  been  born  in  another  country!"*** 

"  Adieu,  I  fear  to  say  too  much  of  my  misery :  yet  I  thank  you  from  the 
bottom  of  my  heart  for  the  desperation  you  have  caused  me,  and  loathe  the 
tranquility  in  which  I  lived  before  I  knew  you.  Adieu,  my  love  increases 
every   minute  !      Ah,  how  many  things  I  have  to  tell  you !  "  " 

Realism  of  external  detail  and  straightforwardness  of  narra- 
tion were  familiar  to  writers  of  short  tales,  but  when  it  came  to 
the  expression  of  emotion,  they  borrowed  the  language  of 
romance  or  resorted  to  cynical  grossness.  These  Letters,  the 
first  example  of  realism  of  emotional  detail,  came  at  the  psy- 
chological moment  to  exert  the  greatest  influence.  There 
already  existed  a  taste  for  sentimentalism  of  an  artificial  reflec- 
tive sort,  or  the  Greek  and  heroic  romances,  the  tragi-comedies 
and  heroic  plays  would  never  have  been  so  popular.  Likewise 
there  existed  the  taste  for  self-analysis,  for  egoistical  enjoy- 
ment in  recounting  one's  own  experiences  with  the  minutest 
detail,  as  the  diaries  of  Pepys  and  Evelyn  amply  testify.*^ 
Moreover,  the  Letters  came  at  the  high-tide  of  the  revulsion  of 
feeling  against  the  visionary  ideals  and  poetic  language  of  the 
Hotel  de  Rambouillet  on  the  one  hand,  and  against  the  high 
thinking  and  plain  living  of  the  Puritans  on  the  other,  in  favor 
of  life  in  the  raw — robustness,  passion,  and  at  its  worst,  im- 
moral license  in  word  and  deed.  The  English  edition  of  1678 
was  followed  by  those  of  1681,  1693,  1694  and  1716,  by  several 
renderings  in  verse,  additions,  replies,  various  imitations,  and 

«•?.  75.  *"»?.  106. 

«P.  104.  "P.  86. 

"Cf.  Burr,  The  Autobiography,  pp.  182-184. 


73 

a  version  of  the  Letters  of  Ahelard  and  Heloisc*^  (1722). 
Such  close  copies  as  Mrs.  Manley's  Letters  in  imitation  of  those 
by  a  Portuguese  Nun  (1696),  Letters  of  Love  and  Gallantry, 
including  the  Adventures  of  a  Young  Lady,  by  Herself,  in' 
several  Letters  to  a  Young  Gentleman  in  the  Country,  and  the 
Nun's  Letter  to  the  Monk,  with  other  passionate  letters  that 
parsed  between  both  sexes  in  tozvn  and  country  (1693)  and 
such  variations  as  The  Love-letters  bctzveen  a  Nobleman  and 
his  Sister:  .  .  .  under  the  borrozced  names  of  Philander  and 
Silvia  (1734)  call  for  no  comment.  A  curious  sequel  appeared 
in  a  collection  called  The  Lining  of  the  Patch-zi'Ork  Screen  by 
Mrs.  Jane  Barker  (1726)." 

How  great  an  efifect  these  Letters  had  on  the  cult  of  senti- 
ment would  be  interesting  to  determine.  For  France,  Pro- 
fessor Waldberg  has  collected  some  interesting  statistics 
showing  that  it  was  quite  the  fashion  to  write  "  a  la  Portu- 
gaise,"*^  but  I  have  not  met  with  such  specific  instances  in 

"The  Letters  of  Abelard  and  Heloise  were  put  forth  in  a  Latin  edition 
in  1 61 6  and  translated  very  freely  into  French  about  1675  and  again  by 
Bussy  Rabutin  in  1695.  Ii^  these  and  contemporary  versions  the  translators 
altered  the  originals  to  make  them  resemble  the  Portuguese  Letters.  The 
English  versions  to  the  present  day  are  based  on  the  French  translations 
instead  of  the  Latin  originals. 

"  The  author  states  that  shortly  after  the  publication  of  the  Letters,  it  was 
reported  that  a  Sister  long  ill  had  escaped  from  the  nunnery,  and  that  on 
the  night  of  her  flight  a  fire  occurred  in  the  cell  of  "  her  of  the  Portuguese 
Letters,"  and  a  corpse,  burned  beyond  recognition,  having  been  found  there, 
it  was  presumed  she  had  taken  that  way  of  leaving  the  world.  This  the 
author  goes  on  to  explain  was  a  mistake :  as  a  matter  of  fact,  the  sick  nun 
had  died  and  Marianne  (whose  letters  had  brought  back  her  recreant  lover) 
had  put  the  corpse  in  her  bed  and  set  fire  to  the  room  in  order  to  cover  her 
own  elopement.  The  two  lovers  lived  happily  for  several  years.  Then  the 
man  died,  and  Marianne  and  her  children  were  left  destitute,  for  she  was 
debarred  from  her  inheritance  and  the  children,  since  their  parents  were 
not  legally  married,  could  not  inherit  their  father's  estate.  Whereupon 
follows  a  long  discourse  on  the  just  punishment  of  sinners.  In  Casa 
Braccio,  by  F.  Marion  Crawford  (New  York,  1895),  a  nun's  elopement  is 
accomplished  by  this  same  device. 

**  Cf.  Waldberg,  Der  cmpfindsame  Roman  in  Frankrcich,  pp.  45-122.  "  Si 
je  le  faisois  reponse  sur  le  meme  ton,  ce  seroit  une  portuguaise,"  from 
the  Letter  of  Madame  de  Sevigne  to  her  daughter,  July  19,  1671.  IL  284, 
ed.  1867.  Quoted  on  p.  81.  Later  romanticists,  such  as  Goethe,  were  much 
impressed  by  the  Letters. 


74 

England,  altliouj:;:h  the  correspondence  of  Mrs.  Bchn  was  evi- 
dently in  imitation  of  them.  Their  influence  on  the  expression 
of  sentiment  is  noticeable  in  the  tragic  pathos  of  Otway's 
Orphan  (1680),  and  Venice  Preserved  (1682),  in  the  dramas 
of  Southerne,  to  a  less  extent  in  those  of  Rowe,  and  in  such 
poems  as  Pope's  Eloisa  to  Abclard  (1717).  Language, 
which  in  the  original  had  the  force  of  sincerity,  was  put  in  the 
mouth  of  every  heroine,  so  that  before  long  this  hysterical 
self-abandonment  became  almost  as  much  of  a  convention  as 
the  preciosity  of  the  romances.  With  the  eighteenth  century 
came  a  reaction  against  both  this  violence  and  this  immorality, 
in  a  desire  to  make  manners  and  morals  conform  to  certain 
well-established  rules.  The  attempt  to  adjust  the  unrestrained 
expression  of  passion  to  the  "prunes,  prisms,  and  proprieties" 
of  middle-class  London  resulted  in  that  sentimental  didacticism 
of  which  Richardson  is  the  great  exponent. 

Equally  great  and  more  obvious  than  the  bearing  of  these 
letters  on  the  growth  of  sentiment,  was  their  influence  on 
the  rise  of  the  letter  as  a  narrative  form.*^  The  form  was 
not  a  complete  innovation,  for  letters  were  a  common  device 
in  the  romances,  and  polite  society  had  long  been  amusing  itself 
composing  elegant  epistles ;"  but  these,  as  Mr.  Gosse  points  out, 
were  the  first  to  convey  real  emotion  and  as  such  they  exerted 
an  influence  on  letter-writers.  More  important  in  view  of 
the  development  of  narrative  art,  they  were  almost  the  first 
to  reveal  an  entire  story,  certainly  the  first  to  enjoy  a  wide- 
spread popularity.  Professor  Waldberg  has  shown  in  detail 
how  great  an  influence  they  exerted  in  France.  So  many 
imitations  cannot  be  cited  in  England,  but  it  is  surely 
significant  that,  while  before  1678,  there  were  no  novels  in 
letter  form,  in  the  remaining  years  of  the  century,  out  of 
the  score  of  original  English  works  there  were  at  least 
eight.  A  still  further  impetus  was  given  to  the  letter  form 
by  its  adoption  for  satire  in  the  remarkably  popular  Letters  of 

*°  Cf.  Waldberg,  Ibid.  Reynier,  Le  Roman  Sentimental  avant  VAstree, 
ch.  vi,  p.  246,  gives  a  list  of  erotic  works  in  letter  form  before  1610. 

"  Cf.  Upham,  The  French  Influence  in  English  Literature,  pp.  434-447, 
for  a  discussion  of  the  vogue  of  Voiture,  Balzac,  "  Orinda,"  Howell,  and 
Loveday. 


75 

a  Turkish  Spy*^  which  enjoyed  numerous  English  editions. 
From  that  time  dates  the  vogue  of  the  pseudo-letter  which 
was  utilized  for  descriptions,  character-sketches,  gossip,  politi- 
cal discussion,  and  narratives. 

All  the  influences  mentioned  in  this  chapter — the  Spanish 
novel  of  the  Cloak  and  Sword,  the  French  story  of  con- 
temporary scandal,  the  Narrative  Comedy,  and  the  passion  of 
the  Portuguese  Letters  are  reflected  in  the  vigorous  work  of 
the  buoyant  Airs.  Behn. 

Aphra  Behn*" 

The  life  and  work  of  the  "  admirable  Astrea,"  as  Mrs.  Behn 
was  universally  called,  has  received  such  careful  and  adequate 
treatment  by  Professor  Siegel  that  the  present  writer  need 
only  summarize  his  conclusions  and  elaborate  somewhat  Mrs. 
Behn's  relationship  to  the  influences  so  far  discussed,  and  her 
relative  position  in  the  development  of  fiction.  Of  her  parentage 
and  early  life,  we  know  practically  nothing  more  than  that  in 
1650,  when  the  little  Aphra  was  about  ten,  she,  with  the  rest 
of  the  family,  accompanied  her  father,  one  John  Johnson,  to 
Surinam,  whither  he  had  been  sent  as  Lord  Lieutenant  of  the 
Barbadoes.  As  he  died  on  the  way  out,  the  family  very 
shortly  returned,  but  how  deep  an  impression  was  made  on  the 
mind  of  the  future  novelist  may  be  gathered  from  her  many 
references  to  the  Indies  and  particularly  from  her  most  notable 

"  The  first  English  edition,  Letters  writ  by  a  Turkish  Spy,  who  lit/d  five 
and  forty  years  .  .  .  at  Paris:  giving  an  Account  .  .  .  of  the  most  remark- 
able transactions  of  Europe  .  .  .  from  1637  to  1682,  appeared  in  1687,  and 
is  now  conceded  to  be  a  somewhat  modified  translation  by  T.  S.  Midgley, 
Wm.  Bradshaw,  Dr.  Manley  and  others  from  L'Espion  Turc,  by  G.  P. 
Marana,  Paris,  1684,  1685,  1686,  and  Amsterdam,  1687.  The  remaining 
three  books  appeared  first  in  London,  due,  it  is  said,  to  complications  about 
the  printing.  Later  there  were  numerous  pseudo-continuations.  Some 
idea  of  the  popularity  of  the  work  may  be  gathered  from  the  fact  that  it 
reached  its  twenty-sixth  edition  in  1770. 

^ Aphra  Behn's  Gedichte  und  Prosaiverkc,  P.  Siegel.  Anglia,  xxv,  pp. 
86  sq.,  and  329  sq.     Separately  printed,  New  York  and  Halle,  1901. 

The  Plays,  Histories  and  Novels  of  Mrs.  Aphra  Behn.  With  Life  and 
Memoirs.  Published  by  Mr.  Charles  Gildon.  Six  volumes.  London,  1871. 
Reprinted  from  the  1705  edition,  itself  revised  from  the  1696  edition. 


76 

novel,  The  History  of  the  Royal  Slave,  or  Oroonoko.  She 
married,  when  httle  more  than  a  girl,  a  Mr.  Bchn,  a  Dutch 
merchant  resident  in  London,  who,  however,  lived  only  a  few 
years.  His  death  deprived  his  widow  of  her  only  means  of 
support  and  forced  her  to  make  the  most  of  her  talents  to 
amuse  the  court,  where  her  vivacity  and  good  looks  had 
already  won  her  favor.  The  King,  taking  advantage  of  her 
Dutch  connections,  sent  her  to  Holland  as  a  spy  in  1666-67, 
and,  had  his  ministers  put  more  faith  in  her  advices,  the 
English  might  have  been  spared  the  shame  of  having  the  fleet 
burned  in  the  Medway.  While  in  Holland,  Mrs.  Behn  be- 
came engaged  to  another  Dutchman,  the  "  Vander  Albert  "  of 
the  letters,  who,  to  quote  her  first  biographer,  "  on  his  way  to 
make  all  things  ready  for  his  voyage  to  England  and  matri- 
mony died  of  a  fever."  The  "  fair  Astrea  "  devoted  the  rest 
of  her  hfe  to  "  pleasure  and  Poetry,"  or  rather  to  the  labor 
of  supporting  herself  by  her  pen,  for  from  1671,  the  date  of 
her  first  play,  until  her  death  in  1691  she  wrote  in  many 
fields: — ^poetry,  drama,  fiction,  besides  translating  Latin 
classics  like  Ovid,  French  novels,  and  such  semi-scientific 
works  as  Fontenelle's  Theory  of  Several  New  Inhabited 
Worlds  .  .  .  lately  Discovered. 

Only  her  prose  narratives,  in  the  eyes  of  the  author  and 
her  contemporaries  the  least  important  part  of  her  work,  are 
of  interest  to  us.  The  three  series  of  letters,  two  elaborate 
"  conceits  "  from  the  French,  and  seven  novels  are  all  con- 
tained within  the  limits  of  two  small  volumes.  Two  sets 
of  letters  concern  her  adventures  in  Holland;  one  being  a 
burlesque  correspondence  between  an  admirer  and  herself, 
the  other  being  a  vivid  account  of  her  experiences  and  obser- 
vations. In  the  latter  occur  the  earliest  attempts  at  narration, 
and  in  them,  particularly  in  the  story  of  the  two  young  rakes, 
who  by  playing  on  their  miserly  old  father's  fear  of  ghosts, 
terrify  him  into  yielding  them  his  money  and  retiring  to  a 
monastery,  may  be  found  the  manner  and  spirit  of  her  later 
works  almost  as  perfected  as  in  The  King  of  Bantam  or 
Oroonoko.  The  third  series  of  letters,  known  as  The  Love- 
Letters  to  a  Gentleman,  are  entirely  different  in  tone  and  style 


77 

— a  difference  due,  it  seems  to  me,  to  the  influence  of  the 
Portuguese  Letters.  The  exact  date  of  Mrs.  Behn's  letters 
is  uncertain,  but  as  there  is  a  reference  to  "  my  new  play," 
they  must  obviously  have  been  written  as  late  as  1671,  when 
her  first  play  appeared.  Even  if  they  were  written  in  the 
year  of  the  play,  the  French  edition  of  the  Letters  of  a  Portu- 
guese AUin  had  preceded  them  by  at  least  two  years.  The 
influence  of  the  latter  may  be  traced  in  the  likeness  of  situa- 
tion, tone,  and  style.  The  situation,  that  of  a  woman  trying 
to  retain  the  love  of  a  luke-warm  lover  by  revealing  the 
strength  of  her  own  passion,  is  practically  unique  in  the  writ- 
ings of  Mrs.  Behn.  The  only  apparent  exceptions  are  The 
Fair  Jilt  and  the  subsidiary  story  of  "  the  injured  and  forsaken 
Elvira  "  in  The  Nun,  and  upon  closer  examination  these  prove 
quite  different.  The  heroine  in  the  Fair  Jilt  tries  to  arouse 
a  passion  and  fails,  but  she  is  not  deserted,  and  her  love  be- 
comes no  abject  devotion,  but  a  violent  hate.  Furthermore, 
she  soon  shifts  her  affection  to  one  of  her  numerous  adorers, 
and  even  the  unappreciative  monk  to  whom  she  was  first 
attached,  appreciates  the  "  honour  done  him "  and  writes  to 
her  "  with  all  the  profound  respect  imaginable."  Elvira's 
case  is  more  nearly  in  point,  but  Mrs.  Behn  took  no  pains  to 
elaborate  Elvira's  feelings  or  to  show  that  she  tried  to  win 
back  her  lover.  Moreover,  in  the  somewhat  similar  instances, 
as  in  the  rest  of  her  work,  Mrs.  Behn  held  to  the  Platonic 
formulas.  In  the  grossest  of  her  stories  the  heroes  and 
heroines  employ  the  decadent  preciosity  which  had  been 
popularized  in  such  pieces  as  Lycidas,^^  The  Lover's  Watch, 
and  Lady's  Looking-Glass,^^  which  she  herself  translated,  so 
that  the  very  different  style  in  the  Letters  to  Lycidas  is  all  the 
more  striking. 

"  Possibly  you  will  wonder  what  compels  me  to  write?  What  moves  me 
to  send  where  I  find  so  little  welcome ;  nay,  where  I  meet  with  such  returns : 
it  may  be  I  wonder  too.""* 

*"  From  Le  Voyage  de  lisle  de  V Amour  a  Lycidas,   1663-1664,  trs.  1680. 
"From   La   Montre ;   par  M.   de  Bonnecorse ;   d   Cologne   1666;   seconde 
partie  contenant  La  Bo'ete  et  Le  Miroir.     Paris,  1671. 
°'"  Letter  III,  p.  58. 


78 

"Was  that,  my  friend,  was  that  the  esteem  you  profess?  Who  grows 
cold  first?  Who  is  changed?  And  who  the  aggressor?  'Tis  I  was  first 
in  friendship  and  shall  be  last  in  constancy.  Take  your  course ;  be  a  friend 
like  a  foe,  and  continue  to  impose  upon  me,  that  you  esteem  me  when  you 
fly  me.  Renounce  your  false  friendship,  or  let  me  see  you  give  it  entire  to 
Astrea."  " 

"  You  ought.  Oh  faithless  and  infinitely  adorable  Lycidas !  to  know  and 
guess  my  tenderness ;  you  ought  to  see  it  grow,  and  daily  increase  upon 
your  hands.  If  it  be  troublesome,  'tis  because  I  fancy  you  lessetu  .  .  .  Oh 
unlucky,  oh  vexatious  thought !  .  .  .  Or,  why  make  more  words  of  tender- 
ness, than  another  woman,  that  loves  as  well,  would  do,  as  you  once  said? 
.  .  .  Farewell.  I  love  you  more  and  more  every  moment  of  my  life. 
Know  it,  and  Good-night."  ^' 

The  difference  between  these  letters  and  the  rest  of  Mrs. 
Behn's  work  is  usually  explained  on  the  ground  that  this  was 
a  more  sincere  attachment,  and  it  is  very  possible  that  her  love 
for  Lycidas  may  have  been  real,  but  certainly  in  expressing 
herself  she  deliberately  modelled  her  letters  after  those  by 
the  Portuguese  Nun. 

The  seven  novels,  whether  classified  according  to  chronol- 
ogy or  according  to  genre,  fall  into  the  same  three  groups : 
humorous  stories,  "  histories  "  based  on  observed  facts,  and 
novels  of  the  cloak  and  sword  order.  As  has  just  been 
pointed  out,  the  earliest  attempts  at  prose  narrative  are  in 
the  letters  retailing  gossip,  and  are  amusing  anecdotes  pre- 
paring directly  for  such  a  piece  as  The  Little  Black  Lady^^ 
which  appeared  in  1663  and  is  presumably  her  earliest  novel. 
It  is  a  witty  description  of  the  many  humorous  mishaps  that 
befel  a  most  unsophisticated  little  brunette  when  she  visited 
London.  As  in  many  of  these  stories  of  the  French  order, 
we  feel  that  the  author  originally  read  it  aloud,  and  that, 
bright  as  it  is,  we  lose  something  by  knowing  it  only  from 
the  printed  page.  This  is  less  true  of  Mrs.  Behn's  next 
narrative  The    King    of   Bantam,^^    though    that    also    is    in 

^  Letter  II,  pp.  64-5. 

«  Letter  VIII,  pp.  84-5. 

"  The  Adventure  of  the  Black  Lady,  vol.  ii.  Histories  and  Novels,  or 
Complete  Works,  vi.  325-336. 

^°  The  Court  of  the  King  of  Bantam,  Complete  Works,  vi.  292-324.  The 
date  is  uncertain,  but  the  story  must  have  been  written  before  the  death  of 


79 

the  conversational  French  manner.  The  plot  is  much  more 
elaborate,  the  characters  sharply  contrasted,  and  the  general 
style  and  method  those  of  the  narrative  comedies. 

Sir  Philip  Friendly,  by  taking  advantage  of  the  Twelfth  Night  custom  of 
choosing  a  mock  king  and  queen,  tricked  a  foolish  fop,  Would-be  King, 
into  bestowing  a  round  sum  on  his  (Friendly's)  mistress,  and  on  his  niece 
a  fortune  sufficiently  large  to  permit  her  to  marry  her  lover. 

From  the  point  of  view  of  structure  and  style  this  is  Mrs. 
Behn's  best  novel ;  in  cleverness,  extravagance,  and  comic 
force  it  challenges  comparison  with  the  best  Restoration 
comedies.  The  local  color  given  by  the  names  of  Whitehall 
and  Charing-Cross,  the  seeming  endeavor  to  be  accurate,  and 
the  raciness  of  the  style  obscure  its  close  relationship  to  con- 
temporary French  fiction,  yet  these  very  characteristics  are 
imitated  from  the  Parisian  stories.^® 

"  This  money  certainly  is  a  most  devilish  thing !  I'm  sure  the  want  of  it 
had  like  to  have  ruined  my  dear  Philabella,  in  her  love  to  Valentine 
Goodland."  " 

"  When  he  was  in  town,  he  lived — let  me  see  !  in  the  Strand ;  or,  as  near 
as  I  can  remember,  somewhere  about  Charing-Cross ;  where,  first  of  all 
Mr.  Would-be-King,  a  gentleman  of  a  large  estate  in  houses,  land  and 
money,  of  a  haughty,  extravagant,  and  profuse  humor,  very  fond  of  every 
new  face,  had  the  misfortune  to  fall 'passionately  in  love  with  Philabella, 
who  then  lived  with  her  uncle."  °' 

Mrs.  Behn  did  not  again  appear  as  a  writer  of  fiction  until 
1688,  in  which  year  she  published  her  two  so-called  histories. 

Charles  II,  since  this  passage  occurs:  "  Indeed  I  don't  hear  that  his  Majesty 
King  Charles  II  ever  sent  an  ambassador  to  compliment  him  ;  though  pos- 
sibly, he  saluted  him  by  his  title  .  .  .  for,  you  know,  he  is  a  wonderful 
goodnatured  and  well-bred  Gentleman"  (p.  313). 

In  Spectator,  557,  June  21,  1714,  there  is  a  reference  to  a  letter  as 
"  written  in  King  Charles  II's  reign,  by  the  Ambassador  of  Bantam." 

°'As,  for  example,  such  translations  as  The  Gentleman-Apothecary,  Being 
a  Late  and  True  Story,  1670  ;  The  Husband  Forc'd  to  be  Jealous,  1668;  The 
Disorders  of  Basse tt,  1688;  The  Crafty  Lady,  or  the  Rival  of  Himself,  1683. 

"  Ibid.,  p.  292. 

"^  Ibid.,  p.  293. 


80 

Of  these  The  History  of  the  Royal  Slave;  or,  Oroonoko'-^  is 
the  better  known.  The  author  lays  great  stress  on  the  fact 
that  she  is  chronichng  events  and  not  writing  a   romance: 

"  I  do  not  pretend,  in  giving  you  the  History  of  this  Royal  Slave,  to  enter- 
tain my  reader  with  the  adventures  of  a  feigned  hero,  whose  life  and  for- 
tunes fancy  may  manage  at  the  poet's  pleasure ;  nor  in  relating  the  truth, 
design  to  adorn  it  with  any  accidents,  but  such  as  arrived  in  earnest  to 
him."  ^^ 

The  plot  therefore  is  biographical,  but  is  nevertheless  com- 
posed of  two  distinct  parts;  the  first  deals  with  Oroonoko's 
life  in  his  native  land  and  particularly  concerns  his  love  aflfair 
with  Imoinda,  the  second  recounts  his  kidnapping  and  his  ad- 
ventures in  Surinam.  The  first,  Mrs.  Behn  fabricated,  the 
second  she  witnessed.  Nothing  could  show  more  clearly 
than  the  first  part  her  lack  of  real  imaginative  power;  her 
negro  court  is  a  combination  of  Restoration  licentiousness  and 
the  luxuriousness  of  the  pseudo-Oriental  romances.  The 
second  part  has  all  the  interest  of  a  sensational  incident  re- 
ported by  a  keen  and  able  eye-witness.  With  contagious  zest, 
she  describes  Oroonoko's  appearance,  his  manners,  and  be- 
havior, tells  us  what  he  said,  what  he  did,  what  she  thought 
of  him,  and  what  the  other  people  thought,  yet  always  keeps 
us  in  sympathy  with  the  hero.  Her  hold  on  her  readers,  like 
that  of  Defoe,  comes  first  of  all  from  her  own  earnestness. 
In  form  and  style  Oroonoko  is  inferior  to  its  predecessors, 
there  is  more  extraneous  material,  and  a  tendency  to  rant  in 
the  moments  of  emotional  stress,  but  the  tone  is  so  much 
higher  and  the  subject  so  interesting  that  Oroonoko  justly 
ranks  as  the  author's  masterpiece.  It  is  frequently  referred 
to  as  the  first  humanitarian  novel  and  as  a  forerunner  of 
Uncle  Tom's  Cabin,  but  it  is  more  than  doubtful  if  Mrs.  Behn 

^*The  History  of  the  Royal  Slave;  or,  Oroonoko.  Complete  Works,  vol. 
V.  The  plot,  briefly  stated,  relates  the  kidnapping  of  Oroonoko  and  Imo- 
inda into  slavery;  their  reunion  and  marriage  in  Surinam,  and  the  ill 
treatment  and  final  revolt  of  Oroonoko,  culminating  in  his  murder  of  his 
wife,  Imoinda,  and  his  own  execution. 

It  was  dramatized  as  Oroonoko ;  a  tragedy,  by  Southern  in  1696,  and  as 
Victorious  Love  by  William  Walsh  in  1698. 

"»  V.  75. 


81 

was  trying  to  arouse  sentiment  against  slavery.  Abuse  of 
the  slaves  she  certainly  denounced,  but,  as  in  the  case  of  Defoe, 
there  is  nothing  in  her  discussion  to  indicate  that  she  thought 
they,  as  a  race,  ought  to  be  free,  or  that  she  thought  such  in- 
feriors could  be  anything  but  slaves."""  Oroonoko  was  an  ex- 
ceptional case.  She  had  come  in  contact  with  his  personality 
and  her  sympathy  had  been  aroused.  Moreover,  it  should  be 
remembered  that  Oroonoko  is  no  ordinary  negro,  but  a  king 
and  a  hero  from  romance.  The  brutal  murder  of  Imoinda  and 
the  stoical  endurance  of  torture  is  the  conduct  of  a  savage,  and 
in  those  passages  Mrs.  Behn  was  depending  upon  her  observa- 
tions ;  but,  generally  speaking,  Oroonoko  conducts  himself  with 
the  propriety  of  those  heroes  of  romance  who  were  enslaved 
by  the  piratical  Moslems, 

"  The  most  famous  statuary  could  not  form  the  figure  of  a  man  more 
admirably  turned  from  head  to  foot.  His  face  was  not  of  that  brown 
rusty  black  which  most  of  that  nation  are,  but  a  perfect  ebony,  or  polished 
jet.  .  .  .  His  nose  was  rising  and  Roman,  instead  of  African  and  flat;  his 
mouth  the  finest  shaped  that  could  be  seen,  far  from  those  great  turned  lips, 
which  are  so  natural  to  the  rest  of  the  Negroes.  The  whole  proportion 
and  air  of  his  face  was  so  nobly  and  exactly  formed,  that  bating  his 
colour,  there  could  be  nothing  in  Nature  more  beautiful,  agreeable  and 
handsome."  * 

"  He  had  an  extreme  good  and  graceful  mien,  and  all  the  civility  of  a 
well-bred  Great  Man.  He  had  nothing  of  barbarity  in  his  Nature,  but  in 
all  points  addressed  himself  as  if  his  education  had  been  in  some  European 
court."  *•* 

Closely  connected  with  the  heroic  mould  of  Oroonoko  is  the 
conception  of  the  ideal  man  as  the  good  savage.  Mrs.  Behn 
introduced  this  character  into  fiction,  and  no  doubt  had  much 
to  do  with  popularizing  the  idea.**'''  It  was,  however,  well  dis- 
seminated at  this  time,  for  it  was  a  current  Hobbism  and  had 

"''  Cf.  Oroonoko's  denunciation  of  his  confederates,  "  by  nature  slaves." 
p.  i8i. 

~  Ibid.,  p.  87. 

«>•  P.  86. 

'"''Oroonoko  was  translated  into  German  in  1709  and  into  French  in  1745, 
and  in  both  countries  was  dramatized. 
7 


already  been  finely  phrased  by  Dryden  in  The  Conquest  of 
Granada  (1672)  : 

"  But  know,  that  I  alone  am  king  of  me. 
I  am  as  free  as  nature  first  made  man, 
Ere  the  base  laws  of  servitude  began, 
When  wild  in  woods  the  noble  savage  ran."    Act  I,  sc.  i. 

The  Fair  Jilt,  having  more  commonplace  material,  has  re- 
ceived less  attention,  yet  it  is  better  constructed,  and,  from 
the  point  of  view  of  characterization,  more  interesting.*'^  As 
in  Oroonoko  great  stress  is  laid  on  the  absolute  fidelity  of  the 
author  to  the  facts,  and  again  the  story  is  biographical. 

Miranda  was  a  beautiful  flirt  who  lived,  at  the  beginning  of  the  narrative, 
in  a  religious  house  in  Amsterdam.  She  fell  in  love  with  a  young  priest 
who  repelled  all  her  advances,  whereupon  the  angry  lady  charged  him  with 
trj'ing  to  seduce  her  and  had  him  committed  to  prison.  There  she  left  him 
to  languish  while  she  carried  on  her  flirtations  and  was  wooed  and  won  by 
a  rich  traveller  who  went  by  the  name  of  Prince  Tarquin.  Time  went  on  ; 
and  the  extravagant  ways  of  the  young  couple  soon  used  up  their  fortune. 
To  get  more  money,  Miranda  determined  to  have  her  younger  sister  mur- 
dered, and  for  this  purpose  worked  first  upon  the  love  of  a  youthful  admirer, 
and  then  upon  that  of  her  doting  husband.  Both  failed  to  kill  the  girl, 
but  being  detected  in  the  attempt,  were  caught,  condemned,  and  sentenced 
to  death.  The  boy  died,  but  by  a  slip  on  the  part  of  the  headsman  and  the 
connivance  of  a  friendly  crowd,  Tarquin,  though  severely  wounded,  man- 
aged to  escape.  He  was  finally  pardoned  and  returned  to  his  native  land, 
where  he  was  joined  by  his  still  adored  and  now  penitent  wife,  who  had 
secured  her  own  release  by  confessing  all  her  nefarious  practices  and  clear- 
ing the  long-suffering  friar. 

The  heroine  is  so  consistently  and  inhumanly  villainous  that 
she  fails  to  be  interesting,  but  the  hero,  who  could  love  her 
through  all  the  ills  he  endured  on  her  account  and  finally 
could  take  her  to  his  old  father  as  the  woman  who  had  saved 
him  from  an  ignominious  death,  is  an  unusual  and  original 

^The  Fair  Jilt;  or,  the  Amours  of  Tarquin  and  Miranda.  Complete 
Works,  V.  201-87.  The  exact  date  is  unknown,  but  the  phrase  ..."  in 
the  time  when  our  King  Charles  of  blessed  memory,  was  in  Brussels,  in  the 
last  year  of  his  banishment,"  puts  it  after  1685.  There  is  an  advertisement 
in  the  Term  Catalogues  for  T.  Tonson,  Michaelmas,  1678,  which  strongly 
suggests  the  first  part  of  the  story,  The  Amorous  Convert;  being  a  true 
relation  of  what  happened  in  Holland. 


83 

type.  Curiously  enough,  in  drawing  this  magnanimous  char- 
acter, Mrs.  Behn  did  not  think  of  him  as  fine  and  noble,  but 
on  the  contrary,  regarded  him  as  a  foolish  victim  of  "  the  force 
of  love."  As  in  the  old  novclle  there  is  no  sympathy  for  the 
cheated.  In  this  novel,  even  more  than  in  the  others,  we  find 
those  little  devices  for  producing  a  realistic  effect  which  we 
are  prone  to  regard  as  peculiar  to  Defoe.  Take,  for  instance, 
the  accurate  description  of  the  crowd  of  by-standers  who 
"  scrambled  for  some  of  the  bloody  saw-dust,  to  keep  for  his 
memory,"  or  that  of  Tarquin  preparing  for  execution : 

"  and  undressing  himself  with  the  help  of  his  valet  and  page,  he  pulled  off 
his  coat,  and  had  underneath  a  white  satin  waistcoat ;  he  took  off  his  peri- 
wig, and  put  on  a  white  satin  cap,  with  a  Holland  one  done  with  point 
under  it,  which  he  pulled  over  his  eyes." 

Most  "  Defoeian  "  of  all  is  the  last  sentence:  "Since  I  began 
this  Relation,  I  heard  that  Prince  Tarquin  died  about  three- 
quarters  of  a  year  ago."  Such  phrases  as  these  explain  Ma- 
caulay's  astonishing  statement  that  Moll  Flanders,  Roxana, 
and  Colonel  Jack  were  "  in  no  respect  .  .  .  beyond  the  reach  of 
Afra  Behn."«^» 

The  novels  of  the  cloak  and  sword,  which  compose  the  third 
group,  of  Mrs.  Behn's  fiction  are  three  in  number.  The 
first,  The  History  of  Agnes  de  Castro,  or  the  Force  of  Gen- 
erous Love,^^  came  out  in  1688,  and  was  followed  the  next 
year  by  The  Nun;  or.  The  Perjured  Beauty,^^  a  tale  of  false 
friends,  lying  lovers,  duels,  and  mistaken  identities,  ending  in 
the  death  of  all  the  participants.  About  the  same  time  was 
written  The  Lucky  Mistake,  a  story  of  crossed  loves,  obdurate 
parents,  and  steadfast  devotion,  in  which  everything  comes 
out  right  in  the  end  and  everybody  lives  happily  forever  after. 
Though  the  least  powerful,  it  is  decidedly  the  prettiest  and 
purest  of  Mrs.  Behn's  novels. 

*">  Cf.  Life  and  Letters  of  Lord  Macanlay.  ed.  Trevelyan,  1876.  II.  385. 

"  Mrs.  Behn's  version  of  Agues  de  Castro,  Nouvelle  Porttigaisc,  par  J.  B. 
de  Brilhac,  Amsterdam,  1685,  appeared  in  Modern  Novels,  vol.  iv,  and  was 
dramatized  in  1696  by  Mrs.  Catherine  Trotter. 

'^History  of  the  Nun,  or,  the  Faire  Vo'w-Breaker,  was  the  title  of  the 
first  edition,  1689. 


84 

In  these  seven  narratives,  Mrs.  Behn  passed,  for  she  can 
scarcely  be  said  to  have  progressed,  from  humorous  anecdotes 
of  actual  experience,  to  sensational,  journalistic  and  supposedly 
true  accounts  of  episodes  which  she  had  witnessed,  and  from 
these  to  deliberately  fictitious  stories  in  the  Spanish  manner. 
Her  first  attempts  at  fiction,  which,  as  has  been  said  are  in  the 
letters,  resemble  the  first  two  groups  and  are  almost  as 
artistically  perfect  as  the  later  and  longer  examples.  To  speak 
paradoxically,  there  is  no  "  art "  in  any  of  them,  which  does  not 
mean  no  artifice.  At  literary  trickery,  Mrs.  Behn  was  an 
adept,  but  she  never  worked  according  to  principles  or  selected 
and  arranged  her  material  to  produce  certain  results  and  large 
effects.  In  common  with  most  clever  men  and  women  of  her 
gossip-loving  generation,  she  possessed  the  gift  of  "  tell- 
ing a  good  story,"  and  circumstances  forced  her  to  develop 
this  gift.  Very  naturally,  she  imitated  the  popular  French 
stories  from  contemporary  life,  substituting  for  the  continental 
material  the  experiences  of  her  own  circle  of  acquaintances,  and 
for  the  indescribable  "  esprit,"  a  flashy  impudence.  Yet  she 
never  progressed  beyond  the  conversational  and  episodic  stage. 
She  elaborated  episodes  at  length,  she  combined  them,  she 
connected  them  by  bits  of  description,  but  she  never  completely 
merged  them  into  one  large  plot.  When  relating  incidents  that 
had  not  come  within  the  range  of  her  observation,  or  analyzing 
emotions  or  expressing  passion,  she  borrowed  from  the 
romances  or  current  love-letters.  Her  interests  were  rather 
narrow  and  vulgar,  her  imaginative  range  was  limited  to 
matters  of  detail,  she  had  no  sense  of  mystery,  and  no  con- 
science either  moral  or  sesthetic ;  but,  as  a  compensation  for  so 
many  limitations,  she  possessed  keen  powers  of  observation,  a 
strong  personality,  a  racy  style,  and  the  trick  of  producing  veri- 
similitude, which  with  her  unusual  experiences  have  given  her 
a  reputation  for  originality.  Original  in  the  sense  of  creative, 
Mrs.  Behn  was  not,  but  she  knew  how  to  make  the  most  of 
what  was  at  her  command.  She  was  a  woman  of  strong  feel- 
ings and  of  amazing  vigor,  all  of  which  she  threw  into  her 
work  without  the  least  restraint.  The  personal  element  is 
what  makes  her  work  so  readable,  for  her  vulgarity  and  gross 


85 

immorality  are  almost  counter-balanced  by  her  buoyancy  and 
robust  common  sense.  All  her  work  is  enlivened  by  a  dash 
and  impudence  that  give  snap  and  life  to  her  colloquial  slip- 
shod style.  It  was  just  such  vigor,  just  such  vivid  style  that 
English  fiction  needed,  and  it  is  for  these  more  than  for  any 
originality,  more  even  than  for  the  accident  of  Oroonoko,  that 
she  deserves  a  place  in  the  history  of  the  English  novel. 

Mrs.  Behn  was  succeeded  by  Mrs.  Mary  de  la  Riviere 
Manley  who  possessed  most  of  her  vices  and  few  of  her  virtues. 

Mary  de  la  Riviere  Manley^* 

Of  Mrs.  Manley's  life  we  know  even  less  than  of  that  of 
Mrs.  Behn,  for  our  chief  source  of  information  is  her  own 
"account  of  her  life  and  times,"  which  contains  more  fiction 
than  fact.  We  do  know,  however,  that  she  was  born  in  1673, 
and  lived  most  of  her  disreputable  life  in  and  about  London, 
supporting  herself  by  writing  scurrilous  articles,  indecent  plays, 
and  scandalous  stories.  Her  father,  Sir  Roger  Manley,  was 
associated  in  some  mysterious  way  with  the  Turkish  Spy,^^  so 
that  Mrs.  Manley  may  be  said  to  have  been  predisposed  in 
favor  of  pseudo-historical  compilations  of  political  and  social 
gossip.  There  is,  so  far  as  I  know,  no  careful  bibliography  of 
her  works,  some  of  which  were,  very  wisely,  printed  anony- 
mously. The  first  of  her  productions  to  appear  was  her  "  let- 
ters "  in  1696.  In  1705,  appeared  an  attack  on  the  Duchess  of 
Portsmouth,  under  the  title  The  Secret  History  of  Queen  Zarah 
and  the  Zarazians,  a  conglomeration  of  tales  of  intrigue  and 
personal  scandal,  generally  attributed  to  her,  to  which  additions 
were  printed  in  1711  and  a  key  in  1712.  This  is  the  earliest 
example  of  this  species  of  romance  in  English.  In  1709,  she 
published  the  notorious  Secret  Memoirs  and  Manners  of 
several  Persons  of  both  sexes  from  the  Nezv  Atalantis  in  which 
she  combined  the  secret-memoir  and  the  ideal  commonwealth. 
For  this  scandalous  attack  on  the  Whigs,  she  was  arrested,  and 
not  discharged  until  1710.  So  popular  had  it  proved,  however, 
that  Mrs.  Manley  was  induced  to  write  continuations  under 

"  Cf.  G.  A.  Aitken  in  D.  N.  B. 
"^  Infra,  p.  io6. 


86 

various  titles.  The  next  year,  1710,  in  the  Memoirs  of 
Eurofye  tozi'ards  the  close  of  the  eighth  century.  Written  by 
Eginhardus,  Secretary  and  Favorite  to  Charlemagne,  she  varied 
her  presentation  of  scandal  by  using  an  historical  setting.  These 
Memoirs  were  dedicated  to  "  Isaac  Bickerstaff,"  i.  e.  R.  Steele, 
whom  she  had  attacked  in  the  New  Atalantis.'^-"-  In  1714 
appeared  The  Adventures  of  Rivella;  or  the  History  of  the 
author  of  the  Atalantis  with  secret  memoirs  and  characters  of 
several  considerable  Persons  her  contemporaries,  which  was 
reissued  for  the  fourth  time  in  1724,  as  Mrs.  Manley's  His- 
tory of  her  Life  and  Times.  In  addition  to  these  narratives 
Mrs.  Manley  may  have  written  Bath-Intrigues'^^^  published  post- 
humously in  1725,  and  a  collection  of  short  stories  which  were 
printed  under  the  title  of  The  Power  of  Love  in  Seven  Novels. 

The  eight  Letters  to  a  Friend,  or  A  Stage-Coach  Journey  to 
Exeter.  Describing  the  Humours  of  the  Road  "with  the  Char- 
acters and  Adventures  of  the  Company,  as  it  was  reprinted  in 
1725,  is  her  most  entertaining  work.  The  journey  is  but  a 
framework  for  stories  of  intrigue  and  formal  "  characters." 
The  accounts  of  disgusting  amours  told  by  the  beau  and  the 
sea-captain  no  longer  divert  us,  but  the  attention  is  still  held  by 
the  vivid  picture  of  the  journey,  of  the  inns,  of  the  customs 
of  the  road,  and  of  the  travellers, — the  ''  impertinent  beau,"  the 
hearty  sea-captain,  the  prude,  and  last,  but  not  least,  the  lively 
Mrs.  Manley  herself.  In  this  narrative  the  style  is  on  the 
whole,  far  superior  to  that  in  the  novels,  the  secret  histories,  or 
the  love-letters,  although  it  must  be  admitted  that  even  at 
her  worst,  Mrs.  Manley  is  seldom  dull. 

The  Adventures  of  Rivella,  Delivered  in  a  conversation  to  the 
Young  Chevalier  d'Aumont  in  Somerset  House  Gardens  by 
Sir  Charles  Lovemore^^'^  which  appeared  in  1714,  is  generally 
supposed  to  be  autobiographical  and  may  have  been  so  in  part. 
It  shows  considerable  skill,  and  in  spite  of  its  scandalous  char- 

^^'^  In  the  Taller  (No.  63),  she  was  attacked  by  Swift,  but  later  he  spoke 
kindly  of  her  and  when  she  succeeded  him  as  editor  of  the  Examiner  as- 
sisted her  with  several  articles.  In  Atalantis  Major,  (171 1)  generally  at- 
tributed to  Defoe,  the  usefulness  of  the  New  Atalantis  is  sarcastically  com- 
mented upon. 

'"'See  bibliography  under   1625. 

"^•^  Sir  John  Tidcomb. 


87 

acter  possesses  certain  romantic  features.  The  central  story, 
that  of  a  poor  girl  who  refused  to  marry  her  lover  when  she 
discovered  that  he  could  marry  a  rich  woman,  has  idealistic 
possibilities,  and  the  "  Portraits  "  of  Rivella  and  her  friends 
are  quite  in  the  manner  of  such  romance  heroines  as  Sappho 
and  Clelia,  while  in  the  use  of  specific  details  Mrs.  Manley 
suggests  Defoe. 

Bath-Intrigues  is  an  Hogarthian  sketch  of  the  famous  resort 
during  "  the  season,"  in  the  manner  of  the  sketches  of  London 
by  Ned  Ward  and  Tom  Brown.  Of  the  seven  novels  in  The 
Power  of  Love  four  are  redactions  of  stories  in  Painter's 
Palace  of  Pleasure^^  and  it  is  highly  probable  that  the  remaining 
three,  together  with  the  novels  in  her  other  works,  could  be 
traced  to  the  same  or  a  similar  source.  Mrs.  IManley  con- 
densed the  originals  by  substituting  a  direct  style  for  Painter's 
lengthy  periods,  but  otherwise  she  made  no  changes  either  in 
manner  or  method;  indeed,  she  did  not  so  much  as  change 
the  names  of  the  characters.  Mrs.  Manley  never  seems  to 
have  been  interested  in  the  motivation  of  her  characters  or  the 
interpretation  of  her  facts.  In  the  New  Atalantis,  for  exam- 
ple, there  is  material  for  many  long  novels  of  the  Richard- 
sonian  type  but  she  contented  herself  with  telling  what  hap- 
pened and  how  it  happened,  in  a  clear,  concise,  yet  circumstan- 
tial manner.  Take  the  story  of  Zara  and  Mosco:  he  had 
ceased  to  care  for  her,  but  she,  like  the  poor  Portuguese  Nun, 
continued  to  "  importune  him  with  passionate  appeals,"  until, 
in  desperation  he  resolved  to  "break  with  her  absolutely." 
He  invited  her  to  take  a  walk  at  twilight,  they  quarrelled,  and 
she  fell  in  the  brook  and  was  drowned — committed  suicide, 
he  said.  As  Mrs.  Manley  tells  the  story,  we  understand  the 
situation  perfectly,   we  can   fairly   see  the  orchard   and  the 

*  My  attention  was  first  called  to  Mrs.  Manley's  relationship  to  Painter 
by  a  note  in  the  dissertation  of  Dr.  Utter  {Studies  in  the  Origins  of  the 
English  Novel,  p.  150),  to  the  effect  that  The  Wife's  Resentment  is  Painter's 
forty-second  novel,  Didaco  and  Violenta;  the  first  of  the  two  stories  bear- 
ing the  name  of  The  Husband's  Resentment  Painter's  forty-third,  Of  a 
Lady  of  Thurin ;  and  The  Happy  Fugitives,  his  forty-fourth,  Almerane  and 
Adelesia.  Subsequently  I  found  The  Fair  Hypocrite  to  be  Painter's  forty- 
fifth,  the  well-known  Duchess  of  Savoy, 


88 

brook,  but  we  do  not  understand  either  Zara  or  Mosco.  Or 
again,  take  the  story  of  Mosco's  brother  Hernando,  who,  al- 
though married,  ruined  his  ward  by  inducing  her  to  enter  into 
a  "  bigamous  marriage "  with  him ;  and  then,  tiring  of  her, 
left  her  "  to  die  of  a  broken  heart."  Here  we  are  given  a  little 
more  information:  we  learn  Hernando  had  been  married 
against  his  will  by  his  father  and  had  never  loved  his  wife,  and 
further,  that  he  had  carefully  corrupted  the  mind  of  the  youth- 
ful Louisa  by  his  evil  teachings.  But  all  this  information  is 
given  in  an  unsympathetic,  objective  manner.  There  is  no 
sympathy,  none  of  Mrs.  Haywood's  morbid  pity,  nor,  on  the 
other  hand,  is  there  any  moral  censure.  In  short,  Mrs.  Man- 
ley  had  neither  the  independence  nor  the  power  of  Mrs.  Behn, 
and  her  work  is  on  the  whole  a  harking  back  to  the  older  type 
of  novel  or  a  lively  relation  of  current  scandal,  which  derives 
whatever  value  it  may  possess  from  its  closeness  to  actuality. 
Mrs.  Manley's  successor,  Mrs.  Haywood,  dealt  with  very  sim- 
ilar material  and  often  in  much  the  same  spirit  and  manner, 
but  the  change  of  temper  which  marked  the  opening  of  the 
eighteenth  century,  together  with  some  new  literary  influences, 
is  reflected  in  her  work  and  may  appropriately  be  treated  in 
the  next  chapter. 


CHAPTER   III 

THE  NOVEL  (1700-1740) 

It  will  be  recalled  that  in  the  introduction  considerable 
emphasis  was  laid  upon  the  change  of  taste  that  took  place  in 
the  early  years  of  the  eighteenth  century,  and  that  this  change 
was  attributed  to  the  reaction  against  the  flagrant  immorality, 
the  license,  and  the  harsh  realism  of  the  later  Stuart  period  and 
to  the  contemporary  rise  in  social  and  literary  importance  of 
the  upper  bourgeoisie.  Propriety  and  compromise  became  the 
watchwords  of  a  generation  which,  animated  not  by  religious 
zeal  but  by  weariness  of  the  prevailing  abuses,  wished  to  make 
life  purer  and  pleasanter.  The  ideal  thus  created  was  objective 
and  ethical,  making  its  appeal  not  through  the  imagination  but 
the  intellect;  it  was  a  morality  neither  lofty  nor  inspiring  but 
eminently  practical.  People  were  not  concerned  with  spiritual 
theories  or  moral  problems,  but  with  conduct,  the  practice  of 
morality  in  all  the  affairs  of  life.  The  formulation  of  this 
ideal  may  be  studied  to  best  advantage  in  the  social  treatises  or 
conduct-books,  which  had  in  many  ways  an  important  bearing 
on  the  development  of  the  novel. 

Throughout  the  sixteenth,  seventeenth,  and  eighteenth  cen- 
turies these  books  were  very  numerous,  and  between  1600 
and  1740  there  must  have  been  several  hundred.  The  Cour- 
tier of  Castiglione  and  The  Prince  of  Machiavelli,  which  treat 
on  a  grand  scale  the  ideal  courtier  and  the  ideal  ruler,  belong 
to  the  earlier  Renaissance,  and  as  early  as  1600  had  been  super- 
seded by  the  more  detailed  treatises  concerning  the  gallant  and 
the  lady  of  the  French  salons.^  A  very  few  of  these  works 
were  concerned  with  character  as  well  as  manners,  a  good 
many  were  controversial  pamphlets  concerning  the   feminist 

^As  The  Honour  of  the  Ladies,  Abraham   Darcy,   1622;  The  Gallery  of 
heroic  Women,  from  the  French  of  John  Poulet,  1652. 
89 


90 

movement,-  but  by  far  the  larger  number  were  formal  manuals 
of  etiquette  in  which  could  be  found  specific  directions  for 
conducting  a  conversation,  for  entering  a  room,  for  pursu- 
ing a  Platonic  courtship,  and  for  writing  letters  on  all  occa- 
sions.^ \^arious  devices  such  as  the  "  character,"  the  dialogue, 
and  the  pseudo-letter,*  were  utilized  to  set  forth  this  informa- 
tion, and  in  all  cases  the  illustrative  story  was  used  to  advan- 
tage. The  advice  thus  given  was  always  concrete  and  specific 
and  based  upon  the  usage  of  such  literary  assemblies  as  the  Hotel 
de  Ramhouillet  and  such  English  imitations  as  the  circle  of  the 
"  matchless  Orinda."  With  the  eighteenth  century  a  great 
change  came  over  these  social  treatises.  In  the  first  place,  the 
select  coteries  no  longer  existed,  and  the  ideal  had  to  be 
adapted  to  the  needs  of  a  much  more  general  public.  In  the 
second  place,  the  interest  in  practical  morality  led  writers  to 
treat  as  much  of  general  questions  of  character  and  conduct 
as  of  questions  of  etiquette.  The  rules  of  good  form  were 
made  dependent  upon  the  principles  of  right  living.  The  social 
treatises  are  not  to  be  regarded  as  fiction,  but  they  played  a 
most  important  part  in  its  development ;  indirectly,  by  setting  up 
certain  ideals  to  which  the  hero  and  heroine  were  made  to 
conform,  and  directly,  in  the  illustrative  stories  and  model 
letters.  In  the  eighteenth  century  these  stories  were  greatly 
elaborated,  and  are  in  subject-matter  and  sentiment  almost 
identical  with  the  novel  of  manners.  The  Family  Instructor 
and  Religious  Courtship  of  Defoe,  The  Letters  Moral  and 
Entertaining  of  Mrs.  Rowe,  the  Familiar  Letters  of  Richard- 
son, the  Tatler,  the  Spectator,  and  Mrs.  Haywood's  Tea-Table 
contain  numerous  novels  in  embryo,  and  Pamela  it  will  be 

^  For  ex.,  Pleasant  Quippes  for  Upstart  Newfangled  Gentlewomen,  by 
Stephen  Gosson,  1596,  A  Strange  Wonder;  or,  a  Wonder  in  a  Woman,  etc., 
1642,  The  Woman  as  Good  as  the  Man,  1671,  Femina  non  est  Homo,  by 
Holltse  (F.  H.),  and  Walsh  (W.),  1678,  Dialogue  concerning  Women,  by 
W.  Walsh,  1 69 1,  and  the  pamphlets  of  Mary  Astell,  c.  1700. 

^  Such  as  Domestic  Duties  by  W.  O.  D.  Gouge,  The  Accomplisht  Woman, 
from  the  French,  by  Walter  Montague,  1656,  and  The  English  Hous-Wife, 
by  G.  Markham,   1660. 

*  The  Lover's  Secretary.  .  .  .  Being  a  collection  of  Billet-Doux,  etc.,  1692. 
Familiar  Letters  of  Love  and  Gallantry,  1718.  The  Perfect  Serving  Maid, 
1692. 


91 

remembered  was  "  Published  in  ordef  to  cultivate  the  Prin-^ 
ciples  of  Virtue  and  Religion  in  the  Minds  of  the  Youth  of 
Both  Sexes." 

The  Duchess  of  Newcastle** 

Some  early  examples  of  this  type  of  literature  are  to  be 
found  among  the  works  of  Margaret,  Duchess  o^  Newcastle 
(i624?-i674).  She  was  one  of  the  most  interesting  person- 
alities of  the  seventeenth  century,  and  consequently  her  writ- 
ings, though  lacking  in  grace  and  literary  finish,  have  a 
certain  attraction.  A  strong-minded  woman  was  the  Duchess. 
She  dressed  as  she  pleased,  wrote  as  she  pleased,  thought  as 
she  pleased  and  said  what  she  pleased,  in  scornful,  and  one 
might  say  studied,  defiance  o^  fashion,  convention,  Mrs. 
Grundy,  and  the  feelings  of  her  friends.  As  she  was  not 
given  to  sentimentalizing  or  to  self-analysis,  she  never  had  the 
least  doubt  as  to  what  was  right  and  what  was  wrong  under 
any  circumstances,  and,  once  she  perceived  her  duty,  she  per- 
formed it  with  all  possible  ostentation.  Two  weaknesses  the 
good  lady  had :  an  unmitigated  admiration  for  the  stolid 
Duke  of  Newcastle,  and  an  inordinate  passion  for  fame.  She 
took  herself  and  her  ambition  with  a  seriousness  and  earnest- 
ness that  give  a  life  and  vitality  to  her  pedantic  and  amateur 
performances,  lacking  in  the  more  polished,  but  artificial,  pro- 
ductions of  her  contemporary,  Mrs.  Philips.  Her  own  indi- 
viduality with  all  its  idiosyncrasies  is  impressed  upon  her 
twenty  odd  plays,  her  verse,  her  biography  of  the  Duke  of 
Newcastle,  her  autobiography,  and  the  miscellaneous  pieces 
of  no  particular  genre  which  we  are  about  to  consider.  Per- 
sonally, I  always  feel  that  the  Duchess  was  vaguely  dissatis- 
fied, that  as  Arnold  said  of  Gray,  though  in  a  rather  diflferent 
sense,  she  "  never  spoke  out,"  and  that  her  innumerable  pre- 
faces to  the  reader,  her  awkward,  learned  style,  and  her  at- 
tempts to  write  in  all  possible  forms  are  due  to  a  restless 
seeking  for  better  self-expression. 

The  IVorld's  Olio,  one  of  her  earliest  works   (1655),  con- 

*"  Cf.  Article  on  "  Margaret  Cavendish  "  by  J.  Knight  in  D.  N.  B. 


92 

sists  of  a  number  of  short  essays  on  all  sorts  of  subjects  from 
the  "Inferiority  of  Woman,  morally  and  physically,"  to  the 
"  History  of  Language,"  the  "  Breeding  of  Children,"  "  Court- 
ship," "  Hospitality,"  "  Fame,"  and  a  criticism  of  "  Penelope's 
indiscretion  in  allowing  herself  to  be  courted."  Incidentally, 
there  are  numerous  references  to  contemporary  manners  and 
morals  and  a  very  vivid  picture  of  the  Newcastle  household, 
in  which  it  is  safe  to  assume  that  the  Duchess,  for  all  her 
theories  on  the  subordination  of  woman,  ruled  with  a  rod  of 
iron.  The  following  year  (1656)  appeared  Nature's  Pictures 
drazvn  by  Fancie's  Pencil  to  the  Life,  with  a  frontispiece  rep- 
resenting the  family  circle  "  Telling  of  tales  of  pleasure  and  of 
witt."  We  are  told  in  one  of  the  Prefaces  that  "There  are 
several  feigned  stories  of  natural  descriptions  as  comical, 
tragical,  and  tragi-comical,  poetical,  romantical,  philosophical 
and  historical  both  in  prose  and  verse,  .  .  .  Also  there  are 
some  morals  and  some  dialogues  .  .  .  and  a  story  at  the  latter 
end  in  which  there  is  no  feigning."  And  in  another  preface 
we  are  told  that  the  purpose  is  "  to  present  virtue,  the  muses 
leading  her  and  the  graces  attending  her,  and  to  shew  vice  is 
seldom  crowned  with  good  fortune ;  and  to  defend  innocency." 
But  the  stories  are  disappointing,  being  merely  conventional 
romantic  intrigues  wrenched  out  of  shape,  so  to  speak,  to 
aiiford  a  moral  conclusion.  For  instance,  there  is  the  story  of 
Assaulted  and  Pursued  Chastity,  in  which  a  lady  who  had 
won  a  prince's  affections  declines  his  presents,  shoots  the  too 
presumptuous  suitor,  and  makes  good  her  escape  to  a  fantastic 
land,  from  which  she  returns  at  the  head  of  some  troops  and 
finally  marries  the  prince.  In  The  Ant  and  the  Bee  and  Wit 
and  Wisdom  are  represented  the  fable  and  the  moral  tale. 

The  CCXI  Sociable  Letters  of  1664,  are  much  more  inter- 
esting. As  the  Duchess  explained  in  a  preface,  "  They  are 
rather  scenes  than  letters,  for  I  have  endeavored  under  the 
cover  of  letters  to  express  the  Humours  of  Mankind  and  the 
actions  of  a  man's  life,  by  the  correspondence  of  two  ladies 
living  at  some  short  distance."  The  idea  was  capital  and  one 
which  later  writers  used  to  good  purpose,  but  the  Duchess 
gives  too  little  space  to  the  characters  and  episodes  and  too 


much  to  censorious  moralizing.  We  have  some  very  interest- 
ing situations,  sketches  which  have  great  possibihties  of  de- 
velopment, as  for  example,  the  story  of  "the  gentleman  that 
married  his  kitchen-maid  "  and  the  account  of  a  family  quarrel 
"ensuing  upon  a  lady's  refusal  to  serve  on  her  table  her 
husband's  favorite  dish,  vulgar  roast-beef."  But  the  Duchess 
left  them  undeveloped. 

In  the  field  of  pure  fiction  her  only  contribution  is  a  wild 
romance,  The  Biasing  World  (1665),  in  which  she  set  forth, 
some  truly  astounding  vagaries  on  the  subject  of  physics. 
Her  best  narratives  are  the  Biography  of  the  Duke  of  New- 
castle*"-  (1667)  and  her  Autobiography*^  (1656).  In  her  great 
desire  to  present  the  6xact  facts,  to  prevent  all  possible  mis- 
understanding by  numerous  details  and  careful  explanation, 
there  is  a  suggestion  of  the  realism  of  the  next  generation. 

Mrs.  Elizabeth  Rowe*'= 

Mrs.  Elizabeth  Rowe  (1674-1737)  belongs  in  many  respects 
to  the  same  school  as  the  Duchess  of  Newcastle,  but  this  well- 
bred  lady  would  have  been  unutterably  shocked  by  her  plain- 
spoken  predecessor.  Mrs.  Rowe  undertook  to  inculcate  prin- 
ciples of  right  living  by  means  of  sentimental  piety.  In  1728 
appeared  Friendship  in  Death  in  tzventy  letters  from  the  Dead 
to  the  Living,  in  which  the  recently  departed  give  their  friends 
sound  advice,  timely  warnings,  and  glowing  accounts  of  heaven. 
There  is  nothing  mysterious  or  even  impressive  about  these 
ghosts,  who  are  of  the  world,  worldly.  In  fact,  the  Letters 
do  not  differ  essentially  from  the  superior,  but  less  popular. 
Letters  Moral  and  Entertaining,  which  appeared  in  three  in- 
stallments, in  1729,  1731  and  1733.  In  these  epistles,  sup- 
posedly written  to  intimate  friends,  we  have  some  interesting 
stories  told  by  one  of  the  participants,  usually  the  heroine. 

*»  The  Life  of  William  Cavendish,  Duke,  Marquis,  and  Earl  of  New- 
castle, Earl  of  Ogle,  Viscount  Mansfield  and  Baron  of  Bolsiver,  of  Ogle, 
Bothal,  and  Hepple,  1667,  2d  ed.  1695. 

*"  True  Relation  of  the  Birth,  Breeding  and  Life  of  Margaret  Cavendish, 
Duchess  of  Newcastle,  Written  by  Herself.  Appended  to  the  first,  but  not 
the  later,  edition  of  Nature's  Pictures. 

*"  Cf.  Sidney  Lee  in  the  D.  N.  B. 


94 

There  is  no  differentiation  of  character,  very  little  subjective 
emotional  analysis,  and  but  slight  variety  in  scenes  and  epi- 
sodes. Most  prominent  among  the  stock  themes  is  the  story 
of  a  young  woman  who  having  retired  to  the  country  to  re- 
cover from  an  unhappy  passion  was  led  by  solitary  meditation 
"  to  religion,"  and  shortly  thereafter,  was  wooed  and  wed  by  a 
worthy  and  devout  young  man,  "  a  match  far  above  her  expec- 
tations." Then  there  is  the  story  of  the  pious  country  maid 
who  was  preferred  by  the  wealthy  lord  to  the  court  beauties 
on  the  score  of  her  "  virtue."  Also,  there  is  the  tale  of  the 
rake  who  was  led  to  repent  and  to  reform  by  his  passion  for  a 
pious  woman,  and  was  rewarded  for  his  improvement  by 
winning  her  hand  and  her  wealth.  And  finally,  there  occurs 
the  story  of  the  pious  girl  who  fell  into  a  decline  after  the 
death  of  her  lover  and  soon  joined  him  in  immortality.  The 
heroines  are  all  sensitive,  emotional  beings,  less  sophis- 
ticated than  Pamela,  but  not  unmindful  of  the  things  of  this 
world.  In  their  cult  of  nature,  morbid  sensibility,  and  senti- 
mental piety  they  are  closely  akin  to  the  heroines  of  the  Rous- 
seau school  and  to  the  Elsie  Dinsmore  of  our  own  day.  The 
hero  is  the  self-satisfied  prig  familiarized  to  us  by  Richardson 
and  his  successors. 

The  popularity  of  Mrs,  Rowe's  prose  and  verse  was  very 
great.  Her  Friendship  in  Death  reached  its  third  edition  in 
1733,  its  fifth  in  1738,  and  was  continuously  printed  until  1816. 
Her  verse  History  of  Joseph,  first  printed  in  1736  was  in  its 
fourth  edition  in  1744,  the  Devout  Exercises  of  the  Heart, 
edited  by  her  admiring  friend  Dr.  Watts,  in  1737,  was  many 
times  reprinted  until  181 1.  In  1739,  appeared  a  collection  of 
her  Miscellaneous  Works  in  Prose  and  Verse,  which  was  re- 
printed in  1744,  1750,  1756,  1772,  and  several  times  thereafter, 
while  as  late  as  1796,  a  still  fuller  collection  was  made.  There 
were  two  French  translations  of  Friendship  in  Death,  one  in 
1740  and  the  other  in  1753.  Moreover,  she  was  most  highly 
esteemed  by  the  literary  men  of  the  time.  Prior  was  won  by 
her  slim  volume  of  mildly  sentimental  verse,  Poems  on  Sev- 
eral Occasions,  issued  in  1696.  Dr.  Isaac  Watts  wrote  of 
"  her  divine  poems,"  and  Pope  thought  so  highly  of  her  elegy 


on  her  husband  that  he  appended  it  to  the  second  edition  of 
Eloisa  to  Ahelard  (1715).  Klopstock  and  Wieland  referred 
to  "  die  gotthche  Rovve,"  "  die  himmHsche  und  fromme 
singer."  Finally,  Dr.  Johnson  (Boswell,  I,  312),  calls  her  the 
earliest  English  writer  to  apply  with  success  '  the  orna- 
ments of  romance  to  religion.  The  only  writer  who  had  made 
a  like  endeavour  was  Robert  Boyle  in  the  Martyrdom  of  St. 
Theodora  and  he  failed.' 

We  find  the  themes  and  the  sentiments  of  these  Letters  present, 
not  only  in  other  social  treatises  but  also  in  the  bourgeois  trag- 
edy and  comedy,  and  in  the  many  stories  and  sketches  in  such 
periodicals  as  the  Spectator,  Tatler,  Lover  and  Tea-Tahle.  In 
the  writings  of  Steele  and  Addison  we  have  the  most  perfect 
expression  of  the  ideal  of  the  age  in  its  finest  conception. 
There  we  find  the  perfect  urbanity,  the  sound  morality,  the 
staid  composure,  and  the  mild  sentimentality  (well  within  the 
bounds  of  reason)  to  which  all  men  aspired.  "To  instruct 
and  to  amuse  "  was  the  purpose  of  these  papers,  and  to  that 
end,  the  authors  preached  both  directly  and  indirectly,  told 
illustrative  stories,  and  wrote  "characters"  typifying  the  var- 
ious virtues  and  vices.  The  stories,  without  exception,  are 
obviously  didactic,  and  the  authors  showed  much  ingenuity  and 
narrative  skill  in  utilizing  Oriental  tales,  in  adapting  picaresque 
stories  and  popular  histories,  and  in  turning  to  good  account 
letters  from  pseudo-travellers  and  sketches  from  domestic  life. 
In  the  Sir  Roger  de  Coverley  Papers,  all  that  is  needed  is  a  plot 
to  make  a  novel  of  manners,  but  it  is  the  plot,  the  series  of  inci- 
dents, which  is  the  essential  feature  of  every  narrative — the 
characters,  the  setting,  the  dialogue  are  important,  but  never- 
theless, subordinate  elements.  The  periodicals  of  the  Spec- 
tator type  were  a  most  important  factor  in  accelerating  the 
development  of  the  novel  of  daily  life,  not  so  much  on  the 
score  of  the  narratives  they  contained,  as  because  they  afforded 
an  opportunity  for  the  publication  of  the  short  minor  forms. 
Of  the  numerous  devices  which  contributed  to  the  novel  we 
have  already  commented  upon  the  memoir,  the  letter,  and  the 
social  tract,  but  the  "  character  "  and  the  dialogue  still  call  for 
a  few  words. 


96 

In  the  words  of  Professor  Cross,^  the  character-sketch  "as 
conceived  by  Ben  Jonson  and  Thomas  Overbury  "  (and  we  may 
add  Joseph  Hall)  "who  had  before  them  a  contemporary 
translation  of  Theophrastus,  was  a  sketch  of  some  person, 
real  or  imaginary,  who  embodied  a  virtue  or  a  vice  or  some 
idiosyncrasy  obnoxious  to  ridicule.  One  character  was  set 
over  against  another,  and  the  sentences  descriptive  of  each 
w^ere  placed  in  the  antithesis  which  the  style  of  Lyly  had  made 
fashionable."  In  other  words,  it  was  a  device  for  attacking 
the  "  humours  "  of  the  age  in  light  satiric  spirit,  and  such  it 
remained  during  the  first  quarter  of  the  seventeenth  century. 
Shortly  thereafter,  it  shared''  with  all  other  literary  forms  the 
fate  of  being  utilized  by  theological  and  political  contro- 
versialists. With  the  Restoration  there  was  a  return  to  lighter 
vein,  and  follies  and  foibles  instead  of  vices  and  theories 
became  the  subject  of  attack.  In  the  meantime,  the  expository, 
antithetical  method  was  adopted  by  the  romance  writers  in 
their  perfectly  serious  portraits  of  individuals,  and  these  in 
turn,  modified  the  later  development  of  the  character-sketch. 
It  was  still  further  modified  by  being  combined  with  the  essay, 
the  letter,  and  the  memoir,  by  being  set  in  a  descriptive  or 
narrative  framework,  and  by  being  grouped  with  other  "  char- 
acters."^ Practically  every  type  of  character-sketch  can  be 
found  in  the  Tatler  and  Spectator;  in  them  can  be  traced  every 
stage  of  its  development  from  the  short,  objective,  impersonal 
"  anatomy  "  of  a  type,  to  the  sympathetic  delineation  of  a  typ- 

°  Cross,  Development  of  the  English  Novel,  p.  24. 

'For  ampler  treatment  of  this  subject  consult  H.  Morley,  Character  Writ- 
ing of  the  Seventeenth  Century,  Carisbrooke  Library,  1891  ;  C.  S.  Baldwin, 
"  The  Relation  of  the  Seventeenth  Century  Character  to  the  Periodical  Es- 
say," Pub.  Mod.  Lang.  Ass.  of  America,  1903,  xviii,  and  1904,  xix,  and 
"  Character  Books  of  the  Seventeenth  Century  in  Relation  to  the  Develop- 
ment of  the  Novel,"  Western  Reserve  Bulletin,  Oct.,  1900,  and  C.  N. 
Greenough,  Studies  in  the  Development  of  Character-Writing  in  England, 
Unpublished  Harvard  Dissertation,  1904.  Dr.  Greenough  is  now  revising 
his  dissertation  which  he  hopes  to  publish  within  a  short  time  as  The 
Character  in  the  series  Types  of  Literature. 

''  Les  Caracteres  de  Theophraste  traduits  du  Grec,  avec  les  Caracteres  ou 
les  Moeurs  de  ce  sidcle,  by  J.  de  la  Bruyere,  Paris,  1688,  and  translated  into 
English  in  1708,  was  a  particularly  potent  factor. 


97 

ical  individual  under  many  different  circumstances.  That  the 
novehsts  learned  much  from  the  "  characters,"  there  can  be  not 
the  least  doubt.  In  the  narratives  of  Mrs.  Behn,  Mrs.  Manley, 
Mrs.  Haywood,  Richardson,  Fielding,  and  their  contempo- 
raries, there  are  numerous  formal  "characters,"  and  the 
method  has  survived  in  the  novels  of  Scott  and  Dickens,  and 
indeed  has  not  died  out  to  this  day. 

The  dialogue,  although  for  many  years  a  favorite  device  in 
social  tracts  and  news-pamphlets,'^^  was  not  so  influential. 
During  the  Restoration  the  Dialogues  of  Liician  were  in  high 
favor  and  stimulated  translations  and  imitations  such  as  Tom 
Brown's  Dialogues  of  the  Dead  and  the  Living  and  the  Dead.^ 
These  in  many  ways  suggest  the  Imaginary  Conversations  of 
Landor,  and  although  they  lack  entirely  the  finesse,  poetry,  and 
exquisite  phrasing  of  the  latter,  are  by  no  means  uninteresting 
and  sometimes  show  not  only  a  keen  sense  of  the  dramatic 
possibilities  of  the  situation,  and  a  lively  sense  of  humour,  but 
also  a  comprehension  of  the  characters.  Particularly  good  are 
the  dialogues  of  "  Dido  and  Stratonica,"  "  Paracelsus  and 
Moliere,"  "  Cortez  and  Montezuma,"  and  "  Mrs.  Behn  and  a 
Young  Actress."  Better  than  any  of  these  are  Prior's  four 
Dialogues  of  the  Dead,^  of  which  perhaps,  the  best  is  the  dia- 
logue between  "  Mr.  John  Locke  and  Seigneur  de  Montaigne  " 
but  the  one  between  "the  Vicar  of  Bray  and  Sir  Thomas 
Moor"  is  a  close  rival.  The  characterization  is  admirable, 
and  the  style  easy,  natural,  and  witty.  Swift's  graphic  Polite 
Conversation  is  a  series  of  little  scenes  that  might  well  have 
been  presented  on  the  stage.  Novelists  took  lessons  from  such 
dialogues  in  handling  conversations  so  that  the  speeches  should 
be  in  character,  and  so  that  shades  of  meaning  should  be  con- 
veyed to  the  reader  without  editorial  explanation. 

While  these  contributory  forms  were  being  perfected,  con- 
siderable progress  was  being  made  in  modifying  the  narrative 

^»  As  in  Tutchin's  Dialogue  between  a  Dissenter  and  the  Obscrvator  con- 
cerning the  Shortest  Way  zcith  Dissenters. 

•  Cf.  Modern  Novels,  vol.  xii. 

•  See  Dialogues  of  the  Dead  and  other  Works  in  Prose  and  Verse,  ed. 
A.  R.  Waller,  1907. 

8 


08 

to  suit  the  new  social  conditions,  and  to  make  it  conform  to  the 
new  moral  standard.  In  the  old  novclle  the  merchants  and  their 
wives  often  figure,  but  the  entire  interest  centers  on  the  epi- 
sode, the  participants  are  fixed  types.  jMoreover,  the  pseudo- 
classic  canon  of  dramatic  usage,  that  kings  and  princes  alone 
were  suitable  subjects  for  tragedy,  or  in  other  words  for 
serious  treatment,  was  reflected  in  the  contemporary  romances 
by  the  exclusion,  except  in  comic  scenes,  of  all  characters  not 
of  royal  or  at  least  gentle  blood,  and  by  the  tendency  to  make 
comic  all  episodes  and  novels  of  intrigue  in  which  the  bour- 
geoisie figured.  The  serious  and  sympathetic  portrayal  of  the ' 
life  of  the  middle  class  vv^as  essential  for  the  perfection  of  the 
novel  of  manners,  and  for  that  reason  such  early  works  of  the 
kind  as  the  mediocre  "  histories "  of  Mrs.  Haywood,  Mrs. 
Barker,    and  Mrs.  Aubin  deserve  special  comment. 

Mrs.  Eliza  Haywood^^ 

We  know  very  little  about  the  facts  of  Mrs.  Haywood's  life. 
She  was  born  about  1693,  and  like  her  predecessors,  Mrs, 
Behn  and  Mrs.  Manley,  led  a  disreputable  life  in  London  until 
her  death,  in  1756.  Like  them,  too,  she  incurred  the  hate  of 
Pope,  and  it  was  in  retaliation  for  his  slanderous  remarks  that 
she  published  her  Female  Diinciad  {iy2g).  Likewise,  she 
incurred  the  wrath  of  Swift,  who  described  her  as  "  the  in- 
famous scribbling  woman."  Scribble  she  certainly  did,  for  in 
the  thirty-six  years  from  her  first  publication,  about  1720,  she 
wrote  at  least  twenty  novels,  most  of  the  contributions  in  the 
Female  Spectator,  some  plays,  some  poems ;  she  translated  many 
things  from  the  French,  and  she  published  much  personal  and 
political  gossip.  It  is  on  the  fiction,  however,  that  her  small 
claim  to  fame  rests.  The  exact  date  of  the  publication  of  many 
of  her  works  is  unknown,  but  it  seems  highly  probable  that  the 
pseudo-histories  like  The  Memoirs  of  a  Certain  Island  Ad jacent 

"  Cf.  Sidney  Lee,  D.  N.  B.  No  detailed  and  careful  work  upon  Mrs.  Hay- 
wood has  been  written  and  her  bibliography  is  in  a  most  bewildering  state. 
Some  of  her  works  have  been  lost,  others  are  extant  only  in  what  purport 
to  be  second  or  third  editions,  while  her  political  pamphlets  are  more  or 
less  confused  with  those  of  Defoe  and  other  writers. 


99 

to  Utopia  (1725),  and  the  Secret  History  of  the  Present  In- 
trigues of  the  Court  of  Caramania  (1727),  came  early  in  her 
literary  career.  The  short  novel  of  intrigue,  somewhat  on  the 
cloak  and  sword  order,  was  always  a  favorite  with  Mrs.  Hay- 
wood, and  her  name  is  usually  associated  with  such  licentious 
stories  as  Lassellia,  or,  the  Self-Abandoned;  The  Rash  Re- 
solve; The  Fatal  Secret,  or.  Constancy  in  Distress;  and  The 
British  Recluse.  These  novels  differ  from  those  by  Mrs.  Behn 
only  in  being  less  brilliant  and  in  exhibiting  an  unhealthy 
pathos.  But  Mrs.  Haywood  by  no  means  confined  herself  to 
such  tales :  she  followed  the  fashion  of  the  Portuguese  Letters 
in  Letters  of  a  Lady  of  Quality  to  a  Chevalier  (1724),  of  the 
Oriental  and  didactic  stories  in  The  Adventures  of  Evaii,  prin- 
cess of  Ijaveo  (1736),"  and  in  later  life  she  closely  imitated 
Richardson  in  A  Present  for  a  Serving-Maid  (1741),  and  less 
directly  in  her  best  novels.  The  History  of  Miss  Bets'^ 
Thoughtless  (1751),  and  Jenny  and  Jessamy  (1753),  while 
the  Epistles  for  the  Ladies  (1749-50)  show  the  influence  of 
]\Irs.  Rowe.  Yet  long  before  the  publication  of  Pamela,  Mrs. 
Haywood  had  made  considerable  progress  in  the  sympathetic 
recital  of  the  conduct  and  emotions  of  ordinary  men  and 
women  under  trying,  and  unusual,  but  still  plausible  conditions 
of  domestic  life.  Idalia;  or,  the  Unfortunate  Mistress  which 
appeared  in  1723  or  thereabouts,  suggests  in  its  opening  scenes 
Clarissa  Harloive. 

The  beautiful  wilful  Idalia,  annoyed  by  her  father's  prohibiting  her  to 
communicate  with  the  attractive  rake  Florez,  secretly  corresponds  with  him, 
and  becomes  involved  in  an  amour  without  really  caring  for  the  man.  He 
lures  her  to  his  house  and  there  betrays  her  to  his  lord.  Other  men 
become  involved.  One  of  them  seizes  the  helpless  victim  and  carries  her 
off  to  a  lonely  country  place,  and  there,  Part  I,  concludes.  Part  II  is 
quite  different,  in  fact,  it  is  a  wild  romance,  in  which  the  heroine,  while 
eloping  from  the  said  country  house,  is  seized  by  robbers  and  separated  from 
her  lover.  Her  career  is  then  not  unlike  that  of  a  Greek  heroine,  for  she 
wanders  over  all  Europe,  is  captured  by  pirates  who  tell  her  Oriental  tales, 
and  finally,  after  a  chapter  of  misfortunes,  discovers  her  quondam  lover 
living  happily  with  his  wife.     At  this  point  the  author  returns  to  realism 

"Reprinted  in  1741  as  The  Unfortunate  Princess;  or,  th^  Ambitious 
Statesman. 


100 

and  aflfectingly  describes  the  perplexity  of  the  man  and  the  grief  of  the 
two  women,  the  wife's  attempt  to  poison  both  her  husband  and  her  rival, 
and  Idalia's  forbearance.  The  Pope,  being  called  upon  to  settle  the  matter, 
decides  that  both  women  shall  enter  nunneries. 

Part  I  is  decidedly  the  better  and  is  really  remarkable  for  the 
elaborate  and  sympathetic  analysis  of  Idalia's  feelings  and  be- 
havior. In  1726,  Mrs.  Haywood  progressed  still  further  in 
The  Mercenary  Lover, ^'^^  reprinted  with  the  Padlock  in  1728. 
In  the  first,  we  have  the  story  of  the  ruin  of  a  pure-minded  girl 
by  the  deliberate  machinations  of  a  bland  villain,  followed  by 
her  discovery  of  his  vileness,  her  resentment,  her  murder,  and 
the  consequent  public  disclosure  and  punishment  of  his  crime. 

Althia  and  Miranda  were  two  rich  country  heiresses  and  consequently 
much  sought  for  by  eligible  young  men.  On  the  proud  and  reserved  Althia 
no  suitor  made  an  impression,  but  the  younger  sister,  the  gay  Miranda,  was 
wooed  and  won  by  Clitander,  a  young  London  merchant.  To  London  the 
couple  went  to  live  and  with  them  took  Althia.  Clitander  was  a  mercenary 
soul,  who  had  married  Miranda  purely  for  the  sake  of  obtaining  her  money, 
and  he  soon  set  himself  to  the  acquiring  of  Althia's  fortune  as  well.  To 
that  end  he  corrupted  her  with  evil  books  and  soft  speeches  and  finally 
ruined  her.  Then,  having  won  her  entire  confidence,  he  suggested  that  she 
make  her  will,  to  which  she  having  consented,  he  substituted  a  deed  of  gift 
in  his  own  favor,  intending  to  murder  her  and  have  it  look  like  suicide. 
Unfortunately,  she  insisted  upon  reading  the  paper,  and  discovering  the 
cheat,  threatened  to  reveal  all  and  even  went  so  far  as  to  write  letters,  but 
before  they  were  dispatched  he  regained  her  confidence  and  took  the  oppor- 
tunity to  poison  her.  Miranda,  fearing  some  foul  play  had  killed  her  sister, 
though  never  for  a  moment  suspecting  her  husband,  made  a  thorough  inves- 
tigation and  brought  the  whole  plot  to  light.  On  the  strength  of  it  she 
secured  a  divorce,  so  that  the  mercenary  Clitander  lost  all  "  the  money  for 
which  he  had  ventured  his  soul." 

The  girls  are  rather  well  drawn  and  the  slow  change  in  Althia 
is  portrayed  with  a  power  suggestive  of  Richardson,  but  the 

"*  This  work  is  not  attributed  to  Mrs.  Haywood  by  any  authority  that 
I  have  consulted.  According  to  the  1726  title  page  it  is  "  By  the  Author  of 
the  Memoirs  of  an  Island  Adjacent  to  Utopia,"  [E.  H.],  and  according  to 
that  of  1728  "  By  the  author  of  Reflections  on  the  various  Effects  of  Love." 
The  B.  M.  cataloguers  attribute  it  to  Mrs.  H.  in  the  1726  copy,  but  not  in 
the  general  bibliography.  Certainly  it  seems  more  reasonable  to  attribute 
it  to  her  than  to  Mrs.  Manley,  as  is  sometimes  done.  Cf.  The  Article  on 
"  Mrs.  Manley  "  by  G.  A.  Aitken  in  D.  N.  B. 


101 

characters  have  no  personahty.  The  Padlock,  the  com- 
panion picture  of  "  virtue  rewarded  "  is,  as  in  many  other  cases, 
far  inferior  to  "  vice  punished." 

The  youthful  Violante  was  married  to  the  old  Lepido,  and  sincerely 
intended  to  make  him  a  faithful  wife,  but  his  jealousy  and  cruelty  drove 
her  to  such  desperation  that  she  finally  yielded  to  the  persuasions  of  an 
old  black  slave  and  granted  an  interview  to  an  unknown,  but  faithful,  lover. 
That  night  the  lover  appeared  and  carried  her  off  to  the  home  of  his  cousin, 
where  she  lived  virtuously  until  Lepido  obtained  a  divorce,  after  which  she 
married  the  lover  and  lived  happily  ever  after.  In  the  course  of  the  story 
it  develops  that  the  hideous  old  slave  was  really  the  lover  who  had  assumed 
that  disguise  in  order  to  obtain  access  to  his  mistress. 

The  plot,  names,  and  setting  might  be  those  of  an  old  Italian 
or  Spanish  novel,  and  in  all  likelihood  go  back  to  some  such 
source,  but  the  elaborate  expositions  of  Violante's  feelings  and 
the  emphasis  upon  her  "  virtue  "  give  a  different  impression. 
The  Disguised  Prince;  or,  the  Beautiful  Parisian,  which  ap- 
peared the  same  year,  and  which  may,  or  may  not,  be  as  the 
title  page  says  "  from  the  French,"  is  another  novel  of  manners 
with  romantic  features.  Here  again  the  characters  are  human 
but  not  individualized. 

Blanche  Bonin,  a  banker's  daughter,  corresponded  with  Samuel  Solico- 
fane,  son  of  a  German  banker  and  friend  of  her  father  in  order  that  the 
young  man  might  improve  his  French.  It  happened  that  the  German 
prince  of  that  province  wished  to  send  his  son  to  Paris  to  be  educated,  and 
learning  of  the  Bonins  from  the  banker,  seized  the  opportunity  to  send  his 
son  under  the  name  of  Samuel.  Blanche  by  her  many  wiles  gained  his 
love ;  but  before  he  had  revealed  to  her  his  identity,  he  was  forced  to 
return  home.  Shortly  thereafter  he  heard  she  was  married,  and  without 
investigating,  judged  her  false  and  utterly  renounced  her.  After  a  time, 
she,  who  had  not  married  at  all,  became  alarmed  at  his  long  silence  and 
went  to  Hanover  to  investigate.  As  luck  would  have  it,  she  arrived  just 
in  time  for  the  funeral  of  the  real  Samuel,  and  supposing  it  her  lover, 
retired  from  the  world.  To  add  to  her  grief  she  received  a  spiteful  note 
from  her  lover  (whom  she  supposed  dead)  in  which  he  declared  he  '  cared 
not  a  jiffy  that  she  had  been  faithless,  for  he  never  had  cared  for  her  any- 
way.* So  great  was  her  grief  that  she  was  ill  for  months.  Just  as  she  was 
recovering  she  received  a  letter  from  another  suitor  in  the  handwriting  of 
her  lover  which,  as  she  supposed  him  to  have  been  dead  a  year,  caused 
her  no  end  of  surprise  and  confusion.  Unfortunately  the  author  did  not 
bring  the  story  to  a  conclusion,  or,  at  least,  I  have  been  unable  to  discover 
the  promised  second  part. 


102 

The  rest  of  Mrs.  Haywood's  novels  require  no  separate 
comment  for  they  differ  but  slightly  from  the  conventional 
novcUe.  The  Surprise;  or,  Constancy  Rezvarded  is  dedicated 
to  Steele,  and  I  cannot  help  wondering  whether  that  author 
found  the  story  of  the  girl  who  won  back  her  faithless  lover 
particularly  to  his  taste.  Alinda,  endowed  with  beauty  and 
wit,  was  sought  in  marriage  by  both  Ellmour  and  Bellamant, 
and  being  in  doubt  as  to  which  to  choose,  she  invited  her 
cousin,  Euphemia,  to  spend  a  week  or  so  with  her  and  give  an 
opinion  on  the  two  suitors.  Euphemia,  although  neither  so 
handsome  nor  so  witty  as  Alinda,  made  up  in  good  humour  and 
wealth  what  she  lacked  in  looks,  and  had  many  suitors  of  her 
own,  but  the  only  one  for  whom  she  cared  had  deserted  her 
for  a  great  beauty.  Alinda  discovered  that  this  recreant  lover 
was  Bellamant  and  immediately  resolved  to  take  Ellamour  for 
her  husband.  Bellamant  continued  in  his  career  of  duplicity, 
but  before  long  ended  in  a  debtor's  prison,  where  he  repented 
at  leisure  and  above  all  regretted  his  "  unhandsome  treatment " 
of  Euphemia.  The  news  of  his  misfortune  had  reached  that 
lady's  ears,  and  she  decided  to  save  him.  Disguised  as  a  man, 
she  visited  him  in  prison,  paid  his  debt,  and  being  assured  of 
his  change  of  heart,  revealed  herself  to  him.  The  Princess  of 
Ijaveo  is  a  curious  little  piece,  so  clumsy  and  crude  as  to  be 
quite  worthless,  yet  with  its  wicked  vizier,  evil  genii,  good 
spirits,  enchantments,  terrible  storms,  and  cynical  explanatory 
notes,  it  is  curiously  anticipatory  of  Beckford's  Vathek  and 
the  Gothic  romances.  Jenny  and  Jessamy  and  Miss  Betsy 
Thoughtless  fall  outside  the  limits  of  this  study,  but  in  pass- 
ing, it  should  be  noted,  that  they  are  not  close  imitations  of 
Richardson's  novels.  They  do,  it  is  true,  show  the  influence 
of  the  new  fiction  very  markedly,  but  the  heroines,  and  espe- 
cially Betsy,  are  more  closely  related  to  the  impulsive  Moll 
Flanders  than  to  the  calculating  Pamela  or  refined  Clarissa. 

The  Female  Spectator  (1723),  and  the  Tea-Table  (1725), 
contain  much  material  from  domestic  life.  The  latter  criticises 
very  sensibly  the  absurd  sentimentality  then  current.  In  this 
connection  the  story  of  Arabella,  who  "having  been  married 
according  to  her  wishes  died  of  grief  through  thinking  of 


103 

future  misfortunes  "  is  particularly  noteworthy.  Mrs.  Hay- 
wood's style  has  not  the  brilliancy  or  dash  of  Mrs.  Behn's,  but 
is  vigorous,  natural,  and  collociuial  to  a  fault.  At  its  best  it 
resembles  that  of  Defoe,^^''  but  is  not  sustained  at  that  level.  To 
conclude,  Mrs.  Haywood's  fiction  does  not  comprise  anything 
as  good  as  Oroonoko  or  The  Fair  Jilt,  but  from  the  point  of 
view  of  the  literary  historian  it  is  important,  since  it  reflects  the 
growth  of  sentiment  and  tragic  pathos  and  shows  an  advance 
both  in  the  subjective  analysis  of  emotions  and  in  the  writing 
of  the  "  domestic  history." 

Mrs.  Jane  Barker 

Less  important  and  less  interesting  than  the  narratives  of 
Mrs.  Haywood  are  those  of  Mrs.  Barker.  Of  Mrs.  Barker 
herself  we  know  nothing.  Even  Dr.  Stanglmaier^-  who  has 
made  a  special  study  of  this  authoress  has  been  unable  to  un- 
earth any  information  about  her  life.  From  various  allusions, 
autobiographic  passages,  and  numerous  references  to  "  Luca- 
sia,"^^  we  may  infer  that  in  her  girlhood  Mrs.  Barker  was  one 
of  the  younger  members  of  that  circle  of  country  gentry  which 
had  formerly  surrounded  Mrs.  Katherine  Philips.  To  these 
early  associations,  no  doubt,  may  be  attributed  her  admiration 
for  "  divine  Orinda,  queen  of  female  writers  "  and  her  lifelong 
partiality  for  the  elaborate  French  romances.  Her  name  first 
appears  as  early  as  1680,  on  the  title  page  of  Poetical  Recrea- 
tions: Consisting  of  Original  Poems,  Songs,  Odes,  etc.,  zvith 
Translations:  in  Two  Parts:  Part  I.  Occasionally  Written  by 

""  In  this  connection  it  is  interesting  to  note  that  Mrs.  Haywood  was 
associated  with  Defoe  in  the  "  Duncan  Campbell  literature,"  although  in 
just  what  way  is  not  clear.  It  is  not  at  all  certain  in  some  instances 
whether  a  pamphlet  is  by  Defoe  or  by  Mrs.  Haywood. 

"For  more  detailed  discussion  see  Mrs.  Jane  Barker:  Ein  Beitrag  sur 
Englischen  Litcratiirgeschichte,  by  Karl  Stanglmaier.  Munich,  1906.  Dr. 
Stanglmaier  was  chiefly  concerned  with  the  verse,  which  he  has  elaborately 
analyzed. 

"  Mrs.  Anne  Owen,  to  whom  "  Orinda  "  addressed  some  of  her  poems. 
Cf.  Upham,  French  Influence  in  English  Literature,  p.  356.  From  allusions 
in  her  later  works  we  know  Mrs.  Barker  was  on  more  or  less  intimate  terms 
with  Mrs.  Elizabeth  Rowe. 


104 

Mrs.  Jane  Barker,  Part  II,  By  Several  Gentlemen  of  the  Uni- 
versities and  others.  The  conventional  and  proper  verse 
scarcely  deserves  the  praise  which  one  admiring  "  young  gentle- 
man "  was  impelled  to  address  to  the  fair  authoress : 

"  Thy  Lines  may  pass  severest  Virtue's  Test, 
More  than  Astraea's  soft,  more  than  Orinda's  chaste." 

Thirty-five  years  elapsed  before  Mrs.  Barker  again  appeared 
in  print,  and  then  it  was  not  as  a  poet  but  as  a  writer  of  fiction. 
In  1715  Curll  published  her  Exiliiis;  or,  the  Banished  Roman, 
which  was  followed  by  a  translation  of  Fenelon's  The  Christian 
Pilgrimage  in  1718,  by  the  Amours  of  Bosvil  and  Galesia  in 
1719,  and  by  seven  romances"  and  two  collections  of  miscel- 
laneous pieces  before  1726.  After  that  Mrs.  Barker's  name 
appears  no  more  except  on  reprints  of  her  popular  romances. 
Exiliiis^^  was  "  written  after  the  Manner  of  Telemachus,  for 
the  instruction  of  some  young  ladies  of  quality."  Since,  in  the 
opinion  of  Mrs.  Barker  "  a  learned  lady  was  as  ridiculous  as  a 
spinning  Hercules,"  the  edifying  discourses  on  history,  govern- 
ment, philosophy  and  the  like,  were  subordinated  to  innumer- 
able discussions  on  how  a  young  lady  should  manage  her 
suitors,  on  filial  obedience,  and  on  points  of  etiquette.  The 
plot  is  a  wretched  medley  of  all  the  absurd  adventures  and 
devices  to  be  found  in  the  romances.  But  though  the  adven- 
tures are  wild,  the  heroines  are  characterized  by  a  matter-of- 
fact  common  sense  worthy  of  Pamela.  One  princess  upon 
being  told  that  the  gods  would  surely  not  disapprove  of  her 
elopement,  since  the  oracle  had  replied  that 

"  The  Gods  will  never  disapprove 
The  sacred  Bonds  of  mutual  love," 

responded,  that  "  Whatsoever  the  Gods  might  seem  to  consent 
to  in  their  dubious  oracles,  a  young  lady  ought  to  interpret 

"  These  comprise :  Cclia  and  Marcellus,  or  the  Constant  Lovers ;  The 
Reward  of  Virtue,  or,  the  Adventures  of  Clarinthia  and  Lysander ;  The 
Lucky  Escape,  or  the  Fate  of  Ismenus;  Clodius  and  Scipiana,  or  the  Beau- 
tiful Captive;  Piso,  or  the  Lezvd  Courtier;  The  Happy  Recluse  and  The 
Fair  Widozv. 

"Reprinted  in  1726,  1736,  1743  and  translated  into  German  in  1721. 


105 

their  meaning  according  to  the  dictates  of  filial  obedience," 
The  misguided  Scipiana  has  a  way  of  interspersing  moral  re- 
flections with  an  account  of  her  past  experiences  that  suggests 
Moll  Flanders. 

"  I  gave  under  my  own  hand  the  certificate  of  my  folly,  and  the  signed 
testimonials  of  my  indiscretion,  for  sure  there  is  not  a  greater  imprudence 
than  for  a  young  lady  to  write  to  her  lover ;  I  am  now  sensible  it  ought 
never  to  be  done,  no  not  even  on  the  account  of  denials  or  reprimands." 

And  later  she  remarks : 

"  For  'tis  certain  no  reproach  is  like  self-reproach,  nor  any  misfortune 
so  hard  to  undergo  as  what  we  draw  upon  ourselves." 

Mrs.  Barker's  other  romances,  though  they  were  not  so 
obviously  educative,  resemble  Exiliiis.  In  them  all,  we  find  the 
wildest  romance  mingled  with  the  most  matter-of-fact  expres- 
sion of  commonplace  moral  sentiments  and  practical  rules  of 
behavior.  In  two  of  her  later  works:  A  Patchwork-Screen 
for  the  Ladies,  Or  Love  and  Virtue  Recommended  (1723),  and 
The  Lining  of  the  Patch-Work  Screen  (1726),  she  abandoned 
romance  for  realistic  and  "  instructive  "  novels.  She  declares 
the  manner  to  be  entirely  new,  but  it  is  merely  the  old  device 
of  telling  stories.  The  tales,  in  spite  of  Mrs.  Barker's  constant 
lauding  of  the  old  romances  on  the  score  of  their  purity,  are 
not  above  reproach  from  the  point  of  view  of  propriety,  not  to 
say  of  morality.  And  such  morality  as  she  taught,  is  of  that 
peculiarly  immoral  variety  that  contents  itself  with  keeping 
within  the  letter  of  the  law.  Mrs.  Barker  taught  virtue  most 
often  by  putting  vice  in  the  pillory,  as  in  the  "  Story  of  Jack 
Mechant  in  which  the  quintessence  of  wickedness  is  designed 
and  practised."  More  amusing  and  most  enlightening  as  re- 
gards IMrs.  Barker's  idea  of  virtue  and  its  immediate  tangible 
reward  is  the  story  of  Capt  Manley. 

Captain  Manley,  a  hopeless  rake,  unhappily  married  to  a  jealous  wife  who 
refused  to  give  him  sufficient  money  to  continue  his  wild  life,  went  to  sea 
to  seek  a  fortune.  He  experienced  nothing  but  storms  and  disasters,  and 
finally  fell  into  the  hands  of  the  Turks  and  was  made  a  slave.  There  he 
remained  in  servitude  for  some  time,  till  his  widowed  mistress  fell  a  victim 
to  his  charms,  and  offered  him  wealth  and  freedom  on  condition  that  he 
would  marry  her.     Although  the  temptation  was  great,  the  Captain,  warned 


106 

in  a  dream  by  three  dead  companions,  confessed  that  he  was  already  married, 
and  that  the  laws  of  the  Christians  would  not  permit  him  to  have  more  than 
one  wife  at  a  time.  Immediately  was  his  virtue  rewarded,  for  not  only  did 
his  mistress  free  him  and  supply  him  with  funds,  but  on  his  return  to 
England,  he  found  that  his  wife  had  died  and  at  "  the  very  time  of  his 
honorable  confession  made  him  a  legacy." 

Mrs.  Penelope  Aubin 

Another  contemporary  of  Mrs.  Haywood,  ]\Irs.  Penelope 
Aubin,  brought  the  novel  closer  to  the  narrative  of  adventure. 
Of  her  life  nothing  at  all  is  known,  and  she  is  not  so  much  as 
mentioned  in  the  Dictionary  of  National  Biography.  Her 
name  first  appears  in  1721  on  the  title  pages  of  two  strange 
medleys  of  romance,  novel  of  manners,  and  popular  his- 
tory ;  namely,  The  Life  of  Madam  de  Beaumont  and  The  Strange 
Adventures  of  the  Count  de  Vinevil  and  his  Family,  and  we 
find  it  again  in  1722  on  The  Noble  Slaves  and  The  History  of 
Genghisen,^^  still  again  in  1726,  on  The  Life  and  Adventures 
of  the  Lady  Lucy,  in  1727,  on  a  translation  of  the  Illustrious 
French  Lovers,  and  finally  in  1729,  on  another  translation  from 
the  French,  The  Life  of  the  Countess  de  Gondes.  These  nar- 
ratives are  highly  didactic  and  are  not  merely  moralistic,  for  in 
one  and  all  there  are  strong  pleas  for  the  Catholic  Church.  Mrs. 
Aubin  confessed  to  a  great  admiration  for  Robinson  Crusoe, 
and  we  find  her  imitating  it  in  shipwrecking  her  characters 
on  uninhabited  islands  and  putting  them  through  most  extra- 
ordinary adventures  which  she  strove  to  describe  with  all  the 
realism  and  circumstantial  evidence  of  Defoe.  In  addition, 
she  interwove  one  or  more  rather  romantic  love  stories.  The 
most  notable  feature  of  her  narratives  is  that  in  each  and 
every  one  there  recurs  the  realistic  story  of  a  young  girl  or 
virtuous  woman  resisting  the  advances  of  a  charming  rake  in 
favor  of  the  "  perfect  lover,"  and  being  rewarded  by  worldly 
goods  for  her  "  virtue,"  while  her  wicked  tormentor  is  brought 
to  a  horrible  and  disgraceful  death.  This  edifying  tale  is 
localized  in  a  romantic  setting  such  as  the  Orient,  the  fast- 
nesses of  Ireland,  or  the  mountains  of  Wales. 

"Translated  from  the  French  of  Petis  de  la  Croix.  Although  full  of 
anecdotes  and  marvels,  it  was  presumably  based  on  fact,  and  not  intended 
as  fiction. 


107 

A  very  good  idea  of  the  varied  attractions  of  Mrs.  Aubin's 
narratives  may  be  gathered  from  the  lengthy  descriptive  title 
pages. ^^  Her  best  work,  take  it  all  in  all,  is  The  Life  and 
Adventures  of  the  Lady  Lucy,  in  which  some  of  the  descrip- 
tions, such  as  the  sack  of  the  castle  after  the  battle  of  the 
Boyne,  have  real  merit  and  are  probably  the  records  of  an  eye- 
witness. In  the  preface  to  the  reader,  Mrs.  Aubin  states  that 
philosophy  of  life  of  which  her  novels  are  the  exemplification. 

"  She  [the  vicious  woman]  will  be  unfortunate  in  the  end,  and  her  death 
(like  Henrietta's)  will  be  accompanied  with  terrors,  and  a  bitter  repentance 
shall  attend  her  to  the  grave ;  whilst  the  virtuous  shall  look  dangers  in  the 
face  unmoved,  and  putting  their  whole  trust  in  the  Divine  Providence  shall 
be  freed  from  the  miseries  of  this  life,  and  go  to  the  eternal  repose,"* 

The  translations  are  less  romantic  than  her  original  work, 
but  are  otherwise  in  the  same  style.  The  only  notable  story 
in  The  Illustrious  French  Lovers^'^^  is  that  of  M.  de  Contamini 

"  The  Life  of  Madam  de  Beaumont,  a  French  Lady ;  Who  lived  in  a  Cave 
in  Wales  above  fourteen  years  undiscovered,  being  forced  to  flye  France 
for  her  religion,  and  of  the  Cruel  Usage  she  had  there.  Also  her  Lord's 
Adventures  in  Muscovy  where  he  was  prisoner  some  years,  with  an  Account 
of  his  returning  to  France,  and  her  being  discovered  by  a  Welsh  Gentleman, 
who  fetches  her  Lord  to  Wales;  and  of  many  strange  accidents  which  befel 
them,  and  their  daughter  Belinda,  who  was  stolen  away  from  them  and  of 
their  Return  to  France  in  the  year  1718. 

The  Strange  Adventures  of  the  Count  de  Vinevil  and  his  Family.  Being 
an  account  of  what  happened  to  them  whilst  they  resided  at  Constantinople. 
And  of  Mile.  Ardelisia,  his  daughter's  being  shipwrecked  on  the  Unin- 
habited Island  Delos  in  the  Return  to  France,  with  Violetta,  a  Venetian 
Lady,  the  Captain  of  the  Ship,  a  Priest,  and  five  Sailors.  The  manner  of 
their  living  there,  and  strange  Deliverance  by  the  arrival  of  a  Ship  com- 
manded by  Violetta's  father.  Ardelisa's  Entertainynent  at  Venice  and  safe 
return  to  France. 

The  Life  and  Adventures  of  the  Lady  Lucy,  the  Daughter  of  an  Irish 
Lord,  who  married  a  German  officer,  and  was  by  him  carried  into  Flanders, 
where  he  became  jealous  of  her  and  a  young  Nobleman,  his  Kinsman,  whom 
he  killed,  and  aftenvards  left  her  wounded  .  .  .  in  a  Forest.  Of  the  Strange 
Adventures  that  befel  both  him  and  her  aftcncards,  and  the  'wonderful 
Manner  in  which  they  met  again  after  living  eighteen  years  asunder. 

""  Preface,  p.  10. 

""  The  Illustrious  French  Lovers;  Being  the  True  Histories  of  the  Amours 
of  Several  French  Persons  of  Quality.  In  which  are  contained  a  great 
Number  of  excellent  Examples  and  Rare  and  Uncommon  Accidents;  shewing 
the  Polite  Breeding  and  Gallantry  of  the  Gentlemen  and  Ladies  of  the 
French  Nation. 


108 

wliich  proved,  according  to  the  author,  that  "  a  poor  virtuous 
maid  may  get  a  good  husband."  More  entertaining  and  in- 
structive, is  The  Life  of  the  Countess  de  Gondea}'" 

On  the  whole,  the  work  of  Mrs.  Aubin  is  an  interesting  at- 
tempt to  introduce  into  one  narrative  the  varied  attractions  of 
the  romance,  the  reahstic  novel,  the  Oriental  setting,  and  the 
accurate  description,  and  is  significant  in  that  the  theme  of 
the  struggle  between  an  innocent  girl  and  a  conscienceless  rake 
receives  considerable  attention.  Similar  tendencies  are  re- 
flected in  a  few  sporadic  works  which  are  individually  better 
than  any  of  the  narratives  of  Mrs.  Aubin,  Mrs.  Barker,  or 
even  Mrs.  Haywood. 

Occasional  Pieces 

An  attempt  to  combine  the  realistic  love  story  and  the  novel 
of  incident  somewhat  on  the  plan  of  Mrs.  Aubin  is  to  be  found 
in  the  Unhappy  Lovers;  or,  the  History  of  James  Welston, 
Gent.,  a  most  curious  mixture  of  love  and  travel,  with  a  satiric 
instead  of  a  moralistic  purpose.  Decidedly  better,  is  The 
Lover's  Secretary;  or,  the  Adventures  of  Lindamira,  A.  Lady 
of  Quality.  Written  by  herself  to  her  friend  in  the  Country. 
In  XXIV  Letters.  Revised  by  Mr.  Thomas  Brown,  the  sec- 
ond edition,  London,  1715.'^^  This  is  the  very  realistic  story 
of  various  misunderstandings,  quarrels,  and  reconciliations  of 
a  young  lady  and  her  lover,  as  described  by  the  lady  herself. 
The  first  fourteen  letters  are  decidedly  the  best,  the  remaining 

"*=  The  Life  of  the  Countess  de  Gondez.  Written  by  her  own  Hand  in 
French.  First  she  was  a  great  beauty  and  chose  an  old  count  for  her  hus- 
band when  she  was  not  eighteen,  and  then  she  fell  in  love  with  a  young 
lord,  who  was  handsome  and  charming,  and  pursued  her  with  all  the  arts 
of  love,  yet  she  kept  her  virtue,  preserved  her  reputation,  and  never  was 
guilty  of  one  slip  for  above  three  years  that  her  lord  lived  with  her.  But 
what  is  yet  more  extraordinary ,  she  mourned  him  dead,  without  hypocrisy, 
kept  still  up  to  the  dignity  of  her  character,  and  refused  to  marry  the  man 
she  loved,  till  she  had  paid  tribute  of  a  long  mourning,  more  than  duty 
required,  for  her  deceased  husband;  and  that  being  past,  and  Iter  lover 
making  some  false  steps,  she  conquered  her  passion  and  preferred  a  nobler 
and  more  constant  lover  before  him, 

"  There  is  no  record  of  a  first  edition.  I  imagine  that  it  is  a  modified 
and  amplified  version  of  some  French  work. 


109 

eleven  being  commonplace  in  material  and  extravagant  in  style. 
The  spirit  and  style  of  the  first  letters  is  that  of  the  narrative 
comedies,  full  of  dramatic  situations  and  humorous  descrip- 
tions of  incidents  and  characters.  Mr.  Spintext  and  Aunt 
Xantippe  are  delightful  caricatures,  and  such  scenes  as  that 
in  which  the  irate  lady  discovers  her  supposed  lover  to  be 
married  to  her  niece  are  essentially  dramatic. 

In  the  opening  letter  we  learn  that  the  writer,  Lindamira,  having  been 
led  by  the  flattery  of  some  sparks  to  enter  into  a  flirtation  with  a  married 
man,  is  on  the  way  to  the  country  to  avoid  the  attentions  of  her  admirer. 
In  the  coach  she  meets  a  young  barrister,  Cleomidon,  who  falls  in  love 
with  her.  During  her  stay  with  her  friends  she  becomes  engaged  to  him, 
but  for  various  reasons  keeps  it  a  secret.  The  illness  of  her  mother  recalls 
her  to  town  and  a  few  days  thereafter  her  mother  dies,  leaving  her  without 
a  protector.  Cleomidon  is  anxious  to  marry,  but  she  insists  upon  waiting 
a  year,  which  leads  to  a  quarrel  and  the  breaking  of  the  engagement.  He, 
in  a  huff,  marries  another — and  repents  at  leisure.  The  next  few  letters 
concern  the  numerous  affairs  of  Lindamira's  gay  cousin,  but  toward  the 
end  we  learn  that  Cleomidon's  wife  has  died  and  that  he  has  again  become 
engaged.     A  little  later  he  meets  his  first  love  and  a  reconciliation  is  effected. 

Less  good  is  The  Double  Captive;  or,  Chains  upon  Chains, 
containing  the  Amorous  Poems  and  Letters  of  a  Young 
Gentleman,  one  of  the  Preston  Prisoners  in  Newgate.  Oc- 
casioned by  his  falling  in  love  zmth  a  Scotch  lady  who  come 
to  visit  his  friend.  Here  again  the  first  part,  with  its  realistic 
description  of  the  prison  and  of  the  emotion  unconsciously 
aroused  by  the  lady,  far  surpasses  the  conventional  love  letters 
and  insipid  verse  of  Part  II.  Decidedly  original  is  The 
Distressed  Orphan;  or,  Love  in  a  Mad-House.^^ 

Annilia,  a  rich  orphan,  was  kindly  brought  up  by  her  uncle,  who  intended 
to  marry  her  to  his  son  and  thus  keep  the  money  in  the  family.  The  son,  a 
weak  creature,  immediately  yielded  to  his  father's  wishes,  although  he  had 
no  particular  inclination  for  his  cousin ;  and  Annilia  half  consented. 
Shortly  thereafter  she  met  and  fell  violently  in  love  with  Marathon.  Her 
uncle,  having  discovered  her  passion,  tried  to  hasten  her  marriage  to  his 
son,   and  on  her  absolutely  refusing,  resorted  to  hard  usage.     Finally,   he 

"Reprinted  as  Love  in  a  Madhouse;  or,  the  History  of  Eliza  Hartley. 
The  Distressed  Orphan.  Written  by  herself  after  her  happy  Union  with 
the  Colonel,  London,  1810.  The  style  was  modernized,  the  names  changed, 
and  the  moral  omitted. 


110 

became  desperate  and  giving  out  that  her  mind  had  become  affected,  com- 
mitted her  to  a  private  asylum.  Here,  after  a  long  search,  her  lover  dis- 
covered her,  got  himself  committed,  and  by  the  aid  of  his  servant  rescued 
the  ill-treated  Annilia.  The  truth  having  become  known,  the  uncle  and 
his  family  were  severely  censured,  and  so  high  ran  public  opinion  that  the 
son  was  forced  to  fly  the  country,  and  the  father,  scorned  by  his  old  friends, 
died  of  a  broken  heart.  "  May  all  such  base  designers,"  concludes  the 
author,  "  meet  the  same  fate ;  let  them  in  foreign  lands  wander  unfriended, 
unregarded,  fit  society  only  for  Beasts  of  prey ;  while  the  constant  and  sin- 
cere meet  with  a  recompense  proportionate  to  their  merit,  happy  in  them- 
selves, and  triumphant  over  those  who  seek  to  harm,  to  detract,  or  to  preju- 
dice them." 

Its  most  remarkable  feature  is  the  humane  protest  against 
the  barbarous  treatment  of  lunatics,  and  the  generally  en- 
lightened attitude  toward  insanity.  Last  of  all,  but  by  no 
means  the  poorest  is,  Alexis  and  Sylvia,  the  second  novel  in 
the  Constant  Lovers  (1736),  "  being  the  hve  and  tender  letters 
that  passed  between  them  after  hey  father  had  terminated 
their  amour"  on  the  score  of  the  suitor's  poverty,  and  before 
a  kind  friend  had  equalized  their  fortunes.  Sylvia's  letters 
reveal  independence,  enterprise,  and  sprightliness  of  spirit. 

Novels  of  a  similar  nature  were  translated  from  the  French, 
but  not  in  appreciable  numbers  until  the  decade  of  the  thirties, 
so  that  in  this  case,  the  translations  seem  to  have  followed  the 
original  works.  The  Unnatural  Mother;  being  the  Genuine 
and  most  affecting  History  of  the  Tragicall  and  Fatal  Conse- 
quences that  attended  the  passion  of  a  Gentleman  of  the  Law 
and  a  young  lady  of  a  considerable  Family  (1734),  has  the 
realism  that  comes  with  the  verisimilitude  of  external  detail. 
Marivaux's  Le  Paysan  Parvenu  and  La  Vie  de  Marianne,  both 
translated  in  1736,  are  too  well-known  to  require  summaries. 
They  both  show  the  tendency  to  deal  sympathetically  with  the 
bourgeoisie,  to  depict  manners  with  great  detail,  and  to  center 
the  interest  around  the  struggle  between  virtue  and  vice  as  per- 
sonified in  an  innocent  young  girl  and  a  rake. 

The  Oriental  Tale 

Besides  the  development  of  the  "  domestic  history,"  two 
new  features  appeared  during  the  period — the  Oriental  tale 
and  the  purely  didactic  story.     The   former  enjoyed  a  mild 


Ill 

vogue.  Miss  Conant,  in  her  interesting  study  of  The  Oriental 
Tale  in  England-^  has  shown  how  the  purely  romantic  interest 
in  the  Orient,  its  use  as  a  setting  for  romances  Hke  Tachtnas, 
Prince  of  Persia  (1676),  Almanzor  and  Alinancaide  (1678), 
Alticira,  Princess  of  Fess  (1682),  and  many  of  the  late  heroic 
romances,  led  to  its  adoption  for  satiric  purposes  in  Marana's 
Turkish  Spy  (1698),  and  Brown's  Amusements  Serious  and 
comical  calculated  for  the  Meridian  of  London  (1700);^^ 
for  moral  and  philosophic  purposes  in  tales  like  the  Story  of 
Helim  and  Abdallah,  contributed  by  Addison  to  the  Spectator, 
and  in  numberless  other  narratives  in  the  periodicals.  Genuine 
Oriental  tales  were  introduced,  once  more  by  the  way  of 
France,  in  the  opening  years  of  the  eighteenth  century;  The 
Arabian  Nights  was  translated  about  1704  and  was  followed  by 
the  Persian  Tales  in  1714,  the  Chinese  Tales  in  1725,  and  so 
on.  Their  popularity,  as  Miss  Conant  points  out,  was  due  in 
no  small  measure  to  the  prestige  given  them  by  their  vogue  in 
France.  Their  sentimentalism,  their  romanticism  of  spirit, 
combined  with  their  realism  of  detail,  made  a  strong  appeal. 
Their  influence  on  fiction  would  naturally  be  greatest  on  the 
romance  and  novel  of  incident,  since  the  interest  of  these 
stories  centers  on  the  rapid  succession  of  events  and  not  on  the 
characters.  The  fairy  tales  of  Perrault"  and  Madam  d'Aul- 
noy,-^  which  in  France  shared  the  popularity  of  the  Oriental 
tales,  did  not  arouse  much  enthusiasm  in  England  until  later 
in  the  century. 

The  Fable,  Apologue,  and  Educative  Romance. 

The  term  "  didactic  story  "  might  almost  be  used  to  cover  all 
the  fiction  of  the  period,  for  the  wildest  romances  and  most 
licentious  tales  were  interlarded  with  sententious  saws  and 
supplied  with  a  preface  stating  that  "  to  instruct  and  to  amuse 
is  the  end  of  all  books  of  this  nature,"  but  strictly  speaking  the 

^  The  Oriental  Tale  in  England   in  the  Eighteenth  Century,  by  Martha 
Pike  Conant,  New  York,  1908. 
^  Cf.  supra,  p.  66. 
^Translated  1729, 
^  Tales  of  the  Fairies,  Works,  vol.  iii,  translated  1707. 


112 

didactic  story  includes  only  those  narratives  written  to  point 
a  moral,  teach  a  lesson,  or  elaborate  a  theory,  such  as  fables, 
apologues,  and  semi-educational  treatises.  The  fables  were,  for 
tlie  most  part,  translations  through  the  French,  of  Oriental 
originals,  and  more  rarely  of  French  imitations.  The  Fables 
of  Bidpai,  of  which  a  forgotten  translation  had  been  made  by 
Sir  Thomas  North  in  1570,^*  was  re-translated  in  1679,  and 
reprinted  five  times  by  1800.  JEsop's  Fables  were  several 
times  printed,  the  most  famous  version  being  the  metrical  trans- 
lation by  Sir  Roger  L'Estrange  in  1692.  Of  contemporary 
fables  in  English,  after  we  have  excluded  Gay's  Fables  and  the 
Countess  of  Winchilsea's  metrical  fables  in  imitation  of  La 
Fontaine,  the  best,  I  think,  are  to  be  found  in  the  Collected 
Works  of  the  Duke  of  Wharton  (1727),  but  whether  The 
Cat  and  the  Over-Bold  Mouse  and  Chardonet,  the  Captvve* 
Gold-Finch;  a  Warning  to  all  Prodigals  are  translated  or  origi- 
nal, I  do  not  know. 

Closely  related  to  the  fable  in  style  and  spirit  is  the  apologue, 
likewise  of  Oriental  origin.  The  best  representatives  in  Eng- 
lish are  those  in  the  Spectator,  of  which  The  Story  of  Hilpa, 
Harpath  and  Shaluni  is  perhaps  the  most  generally  known. 
The  attempt  to  cast  the  novel  of  intrigue  and  the  short  ro- 
mance into  the  apologue  mould  produced  a  most  incongruous 
effect.  Two  novels  by  a  Mrs.  Arabella  Plantin,  contained  in 
the  Works  of  the  Duke  of  Wharton  will  serve  as  examples. 
The  first,  The  Ungrateful,  or  the  Just  Revenge,  is  a  typical 
Italian  story  of  a  woman  who  killed  her  husband  who  had  been 
so  "  ungrateful "  as  to  desert  her  after  running  through  her 
fortune.  The  other,  Love  Led  Astray;  or,  the  Mutual  Incon- 
stancy is  a  courtly  pastoral  of  crossed  loves,  ending  in  an  ex- 
change of  sweethearts,  from  which  tale  Mrs.  Plantin  draws 
the  illuminating  moral  that  a  "  shepherd  can  love  as  well  as  a 
king."  Somewhat  akin  to  the  apologue,  is  the  proverb  litera- 
ture, of  which  species  of  writing,  the  most  prominent  author 

-*  Under  the  title  The  Morall  Philosophie  of  Donie  &.  It  was  reprinted 
in  1601.  In  1679  another  version,  The  Instructive  and  Entertaining  Fables 
of  Pilpoy  came  out  and  was  reprinted  in  1743.  Still  another  version  ap- 
peared in  ^sop  Naturalized,  brought  out  in  171 1. 


113 

is  Oswald  Dykes.  His  Good  Manners  for  Schools,  or  a 
paraphrase  upon  Qui  mihi,  .  .  .  ,  Done  into  English  verse 
(1700),  Moral  Reflections  upon  Select  English  Proverb^ 
(1708),  were  several  times  reprinted;  the  latter  in  1709  and 
again  in  1713.  Neither  the  novel  of  incident  nor  the  novel 
of  manners  could  borrow  much  from  such  short,  impersonal, 
formal  stories  as  the  fable  and  apologue,  but  in  the  premium 
which  these  put  upon  singleness  of  purpose  and  clearness  of 
style  their  influence  was  most  beneficial. 

The  third  type  of  didactic  story,  the  educative  treatise,  was 
developed  at  this  time  and  may  be  said  to  have  been  brought 
into  prominence,  if  not  created,  by  Fenelon,  who  in  his 
Telemaqite,  utilized  a  romantic  machinery  somewhat  similar  to 
that  of  the  Argenis  to  exploit  his  educational  theories.-^  He 
was  followed  by  the  Chevalier  Ramsay  in  Les  Voyages  de 
Cyrus  (1727,  1730),  by  the  Abbe  J.  Pernetti  in  Le  Repos  de 
Cyrus  and  by  the  Abbe  Terrasson  in  Sethos  (1731),  in  all  of 
which  there  was  much  information  upon  historical  and  scientific 
subjects.  There  were  English  versions  of  all  of  these. 
Telcmachus  was  translated  in  1699,  The  Voyages  of  Cyrus  in 
1730,  Sethos  by  M.  Lediard  in  1732;  but  the  only  English 
work  modelled  directly  upon  these  that  appeared  before  1740 
was  the  inferior  Exilins  of  Mrs.  Jane  Barker  in  1715.  Our 
Sunday-school  fiction  and  such  edifying  children's  stories  as  the 
Rollo  series  probably  had  their  origin  in  a  combination  of  the 
learned  educative  narrative,  the  more  popular  social  treatises, 
and  the  sentimental  pieces  of  such  pious  ladies  as  Mrs.  Rowe. 

To  recapitulate,  the  novel  or  brief  tale  which  during  the 
first  half  of  the  seventeenth  century  had  fallen  into  desuetude, 
returned  to  favor  in  the  latter  half,  and  before  1700  had  sup- 
planted the  romance  in  popular  favor.  The  short  Italian 
novelle  which,  condensed,  modernized  and  vulgarized  for  many 
years  continued  to  fill  such  collections  as  The  Delightful  Novels 
and  Winter  Tales,  were  the  point  of  departure  for  the  more 

**  In  this  connection  may  be  mentioned  the  Oriental  philosophic  romance, 
The  Improvement  of  Reason,  exhibited  in  the  Life  of  Hat  Ebn  Yokdhan; 
Written  in  Arabic  above  500  years  ago,  by  Abu  Jaafar  Ebn  Tophail,  which 
appeared  with  slightly  varying  titles  in   1674,   1708  and   1711. 


114 

romantic  Spanish  novels  of  the  Cloak  and  Sword  and  for  the 
clever  French  novels  of  manners.  Through  the  translations 
and  imitations  of  the  latter  by  writers  such  as  Mrs.  Behn,  the 
much-needed  realism,  vivacity,  and  colloquialism  was  imported 
into  the  heavy  English  prose  fiction.  In  the  same  direction  was 
the  influence  of  the  sprightly  Narrative  Comedies.  Realism 
of  emotional  expression  was  learned  from  the  Letters  of  a 
Portuguese  Nun,  which  incidentally  gave  prominence  to  the 
device  of  the  letter.  With  the  turn  of  the  century,  we  find  a 
reaction  against  flagrant  immorality,  together  with  a  revival 
of  sentimentalism  and  a  love  of  didacticism,  reflected  in  the 
social  treatises,  the  fables,  the  apologues,  the  educational  nar- 
ratives, and  the  Oriental  and  fairy  tales.  All  of  these  elements, 
together  with  a  conventional,  middle-class  point  of  view,  an 
increasing  interest  in  self-analysis,  and  a  realistic  depiction  of 
manners,  we  find  in  the  contemporary  narratives,  notably  in  the 
domestic  histories  of  Mrs.  Haywood  and  the  novels  of  Mrs. 
Barker  and  her  anonymous  contemporaries. 


CHAPTER   IV 

THE   POPULAR   FICTION— JOHN   BUNYAN— DANIEL   DEFOE 

With  the  popular  fiction,  we  come  to  the  large  mass  of  cheap, 
artless,  and  ephemeral  narratives,  written  for  and  read  by  all 
classes  of  people  from  the  uneducated  apprentices  and  small 
tradesmen  to  the  court  gallants.  The  majority  are  broadsides, 
popular  histories,  or  chapbooks,  but  others  were  written  by 
men  of  ability  and  fair  schooling  like  Defoe.  Nor  must  it  be 
assumed  that  even  the  chapbooks  were  familiar  only  to  the 
ignorant,  for  from  the  allusions  in  the  drama,  essays,  fiction, 
and  memoirs,  it  is  quite  apparent  that  the  children,  if  not  the 
adults,  of  all  classes  read  them  with  delight.^  They  became 
part  of  the  literary  inheritance  of  the  nation  and  thus  in- 
fluential in  the  moulding  of  all  later  forms  of  fiction.  In 
number  they  are  legion  and  in  variety  infinite,  so  that  we  can 
hope  to  do  no  more  than  glance  at  the  most  prominent  types. 
Exclusive  of  news-letters,  of  tracts  on  dreams,  ghosts,  palmis- 
try, astrology,  behavior,  and  of  sundry  collections  of  letters, 
there  are  five  groups :  vulgar  redactions  of  aristocratic  fiction ; 
legends,  folk-tales  and  historical  anecdotes;  accounts  of  ple- 
beian heroes  both  of  the  past  and  present;  and  last  but  not 
least,  journalistic  pieces  of  all  sorts.  Least  interesting 
perhaps,  are  the  versions-  of  the  romances,  anti-romances,  and 
novels,  for  they  merely  reflect  in  ruder  form  the  taste  of  the 
educated.  Before  the  Restoration,  the  redactions  were  chiefly 
of  the  romances,-  as,  for  example,  Ajnadis,  BcUianis,  Palineryn, 

^ "  When  Guy  of  Warwick,  Parismus,  and  Parismenus  and  Valentine  and 
Orson,  and  the  Seven  Champions  of  England  were  handed  round  the 
school,"  Sterne's  Life  and  Opinions  of  Tristram  Shandy,  Ek.  v,  p.  3. 
Clonmel,  ed.  ii.  211. 

*  These  prints  are  usually  without  dates,  but  in  a  few  cases  we  know  both 

the  redactor  and  the  date,   especially  in  the  case  of  the  work  of  Francis 

Kirkman  and  Richard  Johnson,  which  seems  to  have  been  a  little  revival  of 

the   old   forms.     Amadis,  by   R.  J.,    1664;   Bellianis,  by   F.   K.,    1671  ;   The 

115 


116 

Parismus  and  their  less  aristocratic  compeers,  Guy  of  Warwick 
and  Bcvis  of  Hampton  among  the  chivalric,  and  Pandosto, 
Ciccronis  Amor,  Rosalynde,  and  the  Arcadia  among  the  Eliza- 
bethan ;  but  even  before  1660,  while  the  romances  were  still 
"  turned  out,"  the  taste  for  realism  of  the  grossest  kind,  made 
equally  popular  the  condensations  of  picaresque  miscellanies, 
and  such  French  novels  of  scandal  as  could  be  turned  to  the 
ridicule  of  the  French,  as,  for  example,  the  French  King's 
Wedding,  or  the  Royal  Frolic.  The  heroic  romances,  the  comic 
romances,  with  the  exception  of  Don  Quixote,^  and  the  clever 
novels  of  intrigue  were  rarely,  if  ever,  vulgarized.  Exactly 
how  much  the  writers  of  popular  histories  learned  from  these 
redactions,  and  how  much  these  in  turn  contributed  to  such 
writers  as  Bunyan,  Defoe,  and  Richardson  it  is  impossible  to 
determine,  but  undoubtedly  many  devices  were  transmitted 
from  one  to  the  other.  The  chief  contribution  was  made  by 
the  romances  of  chivalry,  which,  to  repeat  what  has  already 
been  said,  emphasized  the  conception  of  the  narrative  as  "the 
whole  life  and  principal  adventures  of  some  particular  person 
or  persons,"  in  contradistinction  to  the  novel,  which,  like  the 
drama,  confined  itself  to  a  certain  set  of  closely  related  inci- 
dents. The  histories  of  Richardson  and  Fielding  show  the 
combination,  or  the  attempted  combination  of  the  two  con- 
ceptions, for,  while  we  always  are  given  "  the  whole  life,"  the 
interest  centers  on  a  certain  group  of  incidents. 

More  interesting  than  the  redactions  are  the  legends,  folk- 
tales, and  historical  anecdotes,  many  of  which  have  received 
literary  treatment  at  one  time  or  another,  or  "have  found  their 
way  into  our  nursery  rhymes.  Here,  for  instance,  belong  Jacke 
and  the  Gyants,  Simple  Simon,  The  History  of  A.  Apple  Pye, 
The  Children  in  the  Wood,  Reynard  the  Fox,  Friar  Bacon, 
Faustus,  Fortunatus,  and  many  more.  Among  the  historical 
anecdotes  are  The  King  and  the  Tanner,  Jane  Shore,  Fair 

Eighth  Champion  of  Christendom,  c.   1708,  a  rather  satirical  continuation, 
Pandosto,  in   1614,    1648,   1678,   1688,   moralized   and  bound  with  Josephus 
in  1696.      Ciceronis  Amor,  in  1605,  1611,   1616,  1628,   1639.      The  Arcadia 
was  condensed  and  printed  in  1701  as  The  History  of  Heroic  Acts. 
^  Cheap  condensed  versions  appeared  in  1689  and  1695. 


117 

Rosamond,  Wat  Tyler,  Jacke  Straw— d\\  it  will  be  noted  demo- 
cratic in  character.* 

Closely  akin  to  the  democratic  anecdotes  of  royalty  in  dis- 
guise are  the  ''  histories  "  of  popular  heroes  like  Robin  Hood 
and  his  famous  band,  who  lived  a  merry,  independent  life  in 
defiance  of  the  law,  or  like  Whittington,  Thomas  of  Reading, 
and  Simon  Eyre,  who  rose  from  the  lowest  class  to  wealth  and 
eminence.  The  predominating  note  in  one  and  all  is  the  glori- 
fication of  the  self-made  man,  and  incidentally  of  the  middle 
class.  This  spirit  at  its  best  is  preserved  in  the  versions  of  the 
old  stories  made  by  the  sunny  Elizabethan,  Thomas  Dcloney. 
He  was  the  Dekker  of  prose  fiction,  and  the  exploits  of  Thomas 
of  Reading,  John  Winchcomb,  Crispin  and  Crispianus,  and 
Simon  Eyre,  seem  to  have  caught  his  inimitable  buoyancy  and 
contagious  joviality.  The  informing  spirit  is  aptly  expressed 
in  the  following  couplet  on  the  title  page  of  a  quaint  little 
tale  of  Anglo-Saxon  times: 

"  Though  all  things  suffer  by  the  hand  of  Fate, 
I  hope  true  worth  will  ne\-er  out  of  date." 

Then  follows  the  History  of  Bovmiun  (1656),  who  from  a 
henchman  rose  to  be  a  thane  at  the  court  of  Athelstane,  wooed 
and  won  the  King's  sister,  and  on  the  monarch's  death  was 
elected  his  successor — all  of  which  he  accomplished  by  bravery 
and  ability.  The  temper  in  this,  as  in  all  the  "histories,"  is 
that  of  Philistine  self-satisfaction.  The  virtuous  are  always 
rewarded  with  the  goods  of  this  world,  and  have  the  pleasure 
of  defeating  and  punishing  the  wicked;  the  low-born  hero  is 
never  weary  of  bragging  of  his  prowess,  of  exulting  in  his 
power  and  wealth,  and  with  ostentatious  democracy  "  treating 
all  men  alike."  With  the  joviality  replaced  by  a  more  con- 
ventional and  more  conscious  morality,  the  same  spirit  of 
unquestioning  optimism  and  assertiveness  appears  again  in  the 
work  of  Defoe. 

*  Occasionally  a  political  significance  was  attached  to  the  story,  as  in  the 
case  of  Wat  Tyler,  which  bore  the  sub-title  "  just  reward  of  Rebels."  The 
Perplexed  Prince  (1682)  utilized  the  old  king  and  the  peasant  device  to 
make  a  plea  for  the  Duke  of  Monmouth.  The  B.  M.  catalogue  says  that 
this  tract  appeared  before  the  date  on  the  title  page. 


118 

In  the  moral  and  religious  tracts,  which  next  claim  our 
attention,  the  spirit  is  entirely  different — the  theme  is  the 
wickedness  and  weakness  of  man.  Of  the  reformative  tracts, 
such  as  The  Drunkard's  Legacy,  A  Warning  to  Disobedient 
Children,  etc.,  it  is  unnecessary  to  say  anything;  out  of  them 
great  things  never  grew,  yet  they  have  continued  to  exist  in 
such  edifying  works  of  comparatively  recent  times,  as  Ten 
Nights  in  a  Bar-Room.  A  rare  and  pretty  variation  from  the 
usual  form  is  the  fairy  tale  of  the  Golden  Eagle  (1677). 

Albertus,  King  of  Arragon,  falls  ill  of  a  languishing  disease  and  is  told 
by  his  physicians  that  his  return  to  health  depends  upon  the  recovery  of 
the  Golden  Eagle  from  the  Queen  of  Ivyland.  He  sends  his  three  sons,  but 
they  disagree  about  the  way,  and  the  two  elder  rob  the  youngest  and  leave 
him  bound,  in  a  wood  while  they  continue  the  search.  He  is  released  by  a 
hermit  and  through  the  help  of  a  kindly  lady  gains  access  to  an  enchanted 
castle  and  there  procures  a  horse  that  carries  him  to  Ivyland.  His  request 
for  the  Eagle  is  granted  and  he  starts  for  home,  but  his  brothers  meet  him, 
seize  the  Eagle  and  hasten  home  to  the  father,  who  rewards  them  liberally. 
The  poor  youth,  Innocentius  by  name,  manages  after  a  time  to  return  to 
Ivyland.  The  Queen,  enraged  at  the  perfidy  of  the  brothers,  visits  the 
court,  explains  the  whole  story  to  the  King,  and  after  having  the  impostors 
banished,  marries  Innocentia. 

The  religious  tracts^  are  less  common  than  the  moral.  The 
Scriptural  paraphrases,  biographical  accounts  of  Saints,  and 
the  like,  are  not  important  and  far  from  numerous  in  prose,  but 
there  were  current  a  Life  of  Judas  Iscariot,  The  Exodus,  and 
Genesis.  Of  those  concerning  conscience  there  are  a  number, 
many  of  which  have  titles  suggestive  of  Pilgrim's  Progress  and 
may  well  have  been  familiar  to  Bunyan,  who  elevated  and  gave 
final  shape  to  these  allegories.  The  most  prominent  are  The 
Voyage  of  the  Wandering  Knight,  The  Pilgrim's  Passe  to  the 
Netv  Jerusalem  by  "  M.  K.  Gent"  (1659),  Dent's  Plain  Man's 
Pathway  to  Heaven^  and  the  ever  popular  Isle  of  Man,  by 
Richard  Bernard,  written  in  1627  and  in  its  fourteenth  edition 
in  1678. 

^  For  a  full  bibliography  of  these  see  The  Pilgrim's  Progress,  ed.  Hanserd, 
Knollys  Society,  with  an  Introduction  by  G.  Offer,  1847;  and  J.  B.  Wharey, 
A  Study  of  the  Sources  of  John  Bunyan's  Allegories,  University  of  Pennsyl- 
vania Publications,  1904. 

'Printed  during  the  seventeenth  century  in  1607,  1637  and  1660. 


119 

The  sensational  news-narratives  are  the  last,  but  by  no 
means  the  least,  of  the  groups  into  which  we  divided  the  popu- 
lar fiction.  These  were  the  "  yellow  journals  "  of  their  day, 
printing  anything  for  a  sensation  and  at  the  same  time  pre- 
tending to  narrate  actual  facts.  The  aim  was  to  produce 
the  effect  of  a  literal  description,  whether  the  subject  was  a 
supernatural  wonder,  such  as  The  Full,  True,  and  Particular 
Account  of  the  Ghost  or  Apparition  of  the  Duke  of  Bucking- 
ham's Father;  a  crime  like  The  Bloody  Tragedy  or  The 
Lazvyer's  Doom;  a  criminal  biography  such  as  The  History 
of  Jacke  of  Newbury,  or  the  tales  in  the  Newgate  Calendar;'' 
a  political  tract  such  as  The  Royal  Martyr;  or  the  common 
news  of  the  town — elopements,  tragic  deaths,  seductions,  dra- 
matic marriages,  etc. — such  as  we  read  every  day  in  our  news- 
papers. Defoe  found  these  journalistic  narratives  at  his  hand, 
and  without  deviating  from  their  purpose,  to  create  a  sensa- 
tion, or  from  their  method,  the  production  of  the  illusion  of 
actuality,  he  raised  the  ghost  story,  the  criminal  biography, 
and  the  narrative  of  adventure  "to  the  realm  of  literature." 
As  we  shall  see,  his  genius  consisted  in  doing  better  than  any- 
body else  what  many  had  already  attempted.  With  one  variety 
of  chapbook,  the  love  story,  Defoe  did  little  except  in  so  far 
as  he  utilized  such  material  in  Moll  Flanders,  Roxana,  "  Col- 
onel Jacque"  and  his  conduct-books. 

The  brief  popular  love  stories  form  an  interesting  little 
group,  giving  us  peeps  into  the  life  led  by  the  citizens  and  often 
dealing  with  the  same  themes  and  situations  to  which  Richard- 
son was  to  give  literary  treatment.  There  was  Love  in  a  Pas- 
sion without  Z)/Jcr^^/on,  being  an  account  of  a  well-to-do  young 
merchant  who  was  so  smitten  with  the  beauty,  discretion,  and 
virtuous  conduct  of  a  girl  he  met  in  a  holiday  crowd,  that  he 
insisted  upon  marrying  her  forthwith,  even  when  she  "  dis- 
covered to  him  she  was  his  friend's  servant." 

A  trifle  more  literary  is  Amanda,  the  Reformed  JVhore 
(1635),  a  prose  and  verse  narrative  by  Thomas  Cranley,  which 
recounts  the  courtship  of  the  fair  Amanda  of  questionable 
reputation,  by  a  prisoner  who  besought  her  to  leave  her  evil 

^  The  Nezvgate  Calendar,  London,  1728. 


120 

ways  and  so  filled  her  heart  with  repentance  that  she  died 
of  grief.  A  later  and  less  tragic  version  of  a  similar  story* 
has  a  good  young  man  convert  the  erring  damsel  and  after 
placing  her  as  a  servant  in  a  worthy  family,  sail  to  foreign 
parts.  She  conducted  herself  well  for  years,  and  then  came 
her  reward!  Her  mistress  died,  and  she  became  her  master's 
second  wife,  and  lived  happily  with  him  imtil  his  death  a 
few  years  later.  In  the  meantime,  the  good  young  man,  who 
had  "  gone  over  sea,"  had  lost  all  his  wealth  in  unfortunate 
ventures,  and  returned  penniless  to  London  about  the  time  that 
the  woman  whom  he  had  befriended  was  left  a  wealthy  widow. 
She,  while  out  walking  one  day,  recognizing  in  the  poor  beggar 
her  former  benefactor,  immediately  renewed  their  acquaint- 
ance, and  married  him  out  of  hand  that  he  might  enjoy  the 
wealth  he  had  been  instrumental  in  procuring.  "  Thus  was 
their  virtue  rewarded." 

Richardson's  relation  to  the  popular  and  ephemeral  fiction 
is  not  similar  to  that  of  Defoe.  Precisely  what  his  indebted- 
ness was  is  most  uncertain.  His  themes  might  well  have 
been  derived  from  the  drama  and  from  hints  in  the  periodicals 
and  conduct-books,  yet  there  is  something  in  the  atmosphere,  in 
the  style,  and  in  the  pervading  materialism  that  savors  of  the 
popular  narratives.  On  the  other  hand,  his  point  of  view, 
reflective,  idealistic,  almost  romantic,  and  his  conscious  utili- 
zation of  devices  and  methods  derived  from  the  romances,  the 
novel,  and  the  drama,  make  his  work  stand  quite  apart.  In 
speaking  of  the  relation  of  the  drama  to  fiction,  it  may  be  in 
place  to  mention  here  that  subjects  such  as  filled  these  popular 
histories  were  common  in  the  domestic  tragedies.  Of  these  the 
best  are  by  Thomas  Heywood,  and  although  his  point  of  view 
is  very  different  from  that  of  Richardson,  centering  upon  the 
man  instead  of  the  woman,  yet  in  The  Travellers,  The  Woman 
Killed  with  Kindness  and  the  Jane  Shore  episodes  in  Edivard 
IV,  there  is  much  similarity  to  the  novels  in  the  material, 
narrow  morality,  the  sensibility  of  the  characters,  and  the 
tragic  pathos.    In  this  connection  it  is  interesting  to  note  that 

*  The  Reformed  Whore.  This  has  no  date,  but  the  B.  M.  catalogue  gives 
c.  1709. 


121 

Rowe  re-worked  the  Jane  Shore  material  in  17 14,  and  that 
Richardson  particularly  comments  upon  that  play  and  The  Fair 
Penitent  in  Clarissa  Harlozve.  During  these  years,  too,  Otvvay 
was  much  in  vogue,  and  immediately  before  Richardson,  came 
Lillo's  George  Barufield  (1731),  and  Fatal  Curiosity  (1737), 
and  the  sentimental  comedies  of  Steele. 

John  Bunyan^ 
Pilgrim's  Progress  and  Mr.  Badnian 

In  Pilgrim's  Progress,  Bunyan  produced  not  only  the  most 
perfect  of  English  allegories  but  a  masterpiece  of  prose  nar- 
ration. With  the  sources  of  the  allegory,  the  device  of  the 
vision  and  the  conception  of  life  as  a  pilgrimage,  with  its  rela- 
tion to  the  Faerie  Queen  and  similar  mooted  points,  we  are  not 
concerned.  The  whole  question  has  received  careful  attention 
in  an  admirable  study  by  James  B.  Wharey/"  who,  after  com- 
paring Pilgrim's  Progress  in  detail  with  Deguileville's  Pilgrim- 
age of  the  Life  of  Man,  Cartigny's  Voyage  of  the  Wandering 
Knight,  Patrick's  Parable  of  the  Pilgrim,  and  more  cursorily 
with  other  allegories  from  The  Table  of  Cebes  to  1678,  and 
after  taking  into  consideration  many  sermons  and  homilies  with 
suggestive  themes  and  titles,  comes  to  the  conclusion  that: 
"  Bunyan  was  among  the  last  of  a  long  line  of  allegorists,  that 
the  concept  had  become  common  property,  and  that  Bunyan 
adopted  the  framework  which  had  been  handed  down  from  De- 
guileville  through  other  allegorists,  relying,  however,  for  the 
details  of  his  allegory,  not  upon  the  works  of  his  predecessors, 
but  upon  his  own  invention.  Bernard's  Isle  of  Man  and  Arthur 
Dent's  The  Plaine  Man's  Pathway  to  Heaven  are  the  only 
works  from  which  Bunyan  can  be  said  to  have  borrowed,  and 
from  these  chiefly  in  The  Holy  War  and  Mr.  Bad  man."  If 
Bunyan's  debt  to  these  popular  allegories  is  so  indefinite,  that 

'  The  Collected  Works  of  John  Bunyan,  ed.  George  Offer,  3  vols.,  1853. 

^*J.  B.  Wharey,  A  Study  of  the  Sources  of  John  Bunyan's  Allegories, 
University  of  Pennsylvania  Publications,  1904,  and  The  Pilgrim's  Progress, 
ed.  Hanserd,  Knollys  Society,  with  an  introduction  by  G.  Offer,  London, 
1847,  which  contains  a  valuable  list  of  early  allegories,  etc. 


122 

to  the  Faerie  Queen  is  even  more  a  matter  of  conjecture.  In 
a  comparatively  recent  article  by  Otto  Kiitz/^  the  scattered 
statements  on  this  head,  vi^ith  the  passages  from  Spenser,  have 
been  collected,  and  it  must  be  conceded  that  there  is  a  general 
similarity  in  many  passages,  notably  between  the  House  of 
Holiness  and  the  Cave  of  Despair,  but  there  are  equally  strik- 
ing differences  even  in  these  passages,  so  that,  considering  the 
prevalence  of  these  ideas  and  the  improbability  of  Bunyan's 
knowing  Spenser,  it  is  more  than  probable  that  the  similarity 
is  wholly  fortuitous. 

As  a  narrative,  and  as  such  it  concerns  us,  Pilgrim's  Progress 
goes  back  in  structure,  in  the  adventures  with  the  giants,  Apol- 
lyon,  and  villainous  "  knights,"  in  the  "  entertainments  "  at  fair 
palaces,  in  the  succour  of  the  weak,  and  other  details,  to  the 
romances  of  chivalry.  There  are,  however,  vital  differences: 
in  the  first  place,  Bunyan  was  primarily  concerned  with  the 
spiritual  truth  and  allegorical  parallel ;  in  the  second  place,  he 
wrote  in  terms  of  the  lesser  bourgeoisie ;  tradesmen  and  shop- 
keepers replace  the  ladies  and  gentlemen  of  the  romances, 
and  their  manners,  customs,  language  and  ideals  supplant  the 
refinement  and  elaborate  etiquette  of  the  court ;  and  in  the  third 
place,  he  substituted  realism  for  romanticism.  Idealism  he 
retained ;  a  loftier  conception  of  the  conduct  of  life  is  hard  to 
imagine,  and  his  narrative  was  written  to  illustrate  that  life 
without  minimizing  its  difficulty.  It  was  not  presented  as  life 
of  poetic  goodness  led  in  an  ideal  world  or  golden  age.  His 
characters  are  human  men  and  women  contending  against  the 
temptations  and  evils  with  which  we  are  all  familiar,  but  doing 
so  in  a  nobler  and  more  heroic  spirit.  Therein  lies  the  success 
of  Pilgrim's  Progress  as  an  allegory,  and  much  of  its  interest 
as  a  narrative :  it  is  our  own  world  cast  upon  a  higher  plane, 
possessing  at  once  the  charm  of  familiarity  and  the  fascination 
of  novelty.  Yet  had  Bunyan  not  been  endowed  with  a  wonderful 
genius  for  telling  a  story.  Pilgrim's  Progress  would  never  have 
won  and  retained  its  tremendous  popularity.  It  is  often  said 
that  Bunyan  regarded  himself  as  anything  but  a  romancer,  but 

""The  Faerie  Queen  and  Pilgrim's  Progress,"  by  O.  Ktitz,  AngUa,  1899, 
xxii.  zz  sq.  and  77  sq. 


123 

we  should  change  the  phrase  to  read  "  merely  a  romancer  " ;  for 
Bunyan,  having  in  his  prefatory  poem  justified  the  use  of 
parables,  and  "  baits  "  and  "  snares,"  frankly  employed  all  the 
devices  known  to  narrative  art  in  order  to  produce  a  vivid  im- 
pression. In  his  use  of  accurate  detail  to  produce  the  illusion 
of  actuality,  in  the  naturalism  of  the  characters,  and  in  the 
adoption  of  a  vigorous,  colloquial,  yet  dignified  style,  he  was  a 
worthy  predecessor  of  Defoe,  whom  he  surpassed  in  spiritual 
uplift  and  in  certain  phases  of  creative  imagination.  From  the 
artistic  standpoint,  Part  I  is  decidedly  superior  to  the  continua- 
tion. From  the  moment  that  Christian  enters  the  scene  in  that 
classic  sentence :  "  I  dreamed,  and  behold,  I  saw  a  man  clothed 
with  rags,  standing  in  a  certain  place,  with  his  face  from  his 
own  house,  a  book  in  his  hand,  and  a  great  burden  upon  his 
back,"  until  his  entry  into  the  New  Jerusalem  and  the  final 
closing  of  the  gates,  the  hero  has  our  undivided  interest. 
There  is  not  an  extraneous  episode,  not  an  insignificant  per- 
sonage, scarcely  a  superfluous  word,  for  even  those  easily- 
skipped  moral  disquisitions  are  in  perfect  character.  And 
with  what  power  are  the  characters  drawn!  With  what  nice 
distinction  are  Faithful,  Hopeful  and  Christian  delineated, 
and  how  lifelike  Mr.  Timorous,  Mr.  Talkative  and  Mr.  By- 
Ends !  Part  II,  while  distinctly  inferior  as  an  allegory  and 
somewhat  so  as  a  narrative,  is  far  more  genial  in  tone  and 
richer  in  pictures  from  homely  life;  there  are  the  family  ties, 
lovable  Christiana,  Mercy,  one  of  the  first  of  a  long  line  of 
sweet  young  girls  in  English  fiction,  Great-Heart,  as  brave  and 
true  as  Christian,  but  less  aggressive  than  that  militant  hero. 
We  have  a  domestic  history  of  the  whole  family  such  as  does 
not  occur  again  till  the  end  of  the  next  century.  What  success 
Bunyan  would  have  attained  had  he  set  about  writing  mere 
fiction,  we  can  guess  from  little  episodes  such  as  that  of  Mr. 
Brisk  and  Alercy  which  in  lightness  of  touch  and  naturalism 
are  equal  to  anything  in  Defoe  or  Richardson. 

Mr.  Brisk  having  offered  his  love  to  Mercy,  she  very  wisely  inquired 
concerning  him  of  the  maidens  in  the  house  and  finding  that  "  he  was,  as 
they  feared,  one  that  pretended  to  religion  ;  but  a  stranger  to  the  power  of 
that  which   is  good,"  decided  to  have  none  of  him.      "  Prudence  then  re- 


124 

plied  that  '  there  needed  no  great  matter  of  discouragement  to  be  given  him, 
her  continuing  so  as  she  had  begun  to  do  for  the  poor  would  quickly  cool  his 
courage.'  " 

"  So  the  next  time  he  comes,  he  finds  her  at  her  old  work,  a-making  of 
things  for  the  poor.  Then  said  he,  '  What !  always  at  it?  '  '  Yes,'  said  she, 
'either  for  myself  or  for  others.'  '  And  what  canst  thou  earn  a-day  ?  ' 
quoth  he.  '  I  do  these  things,'  said  she,  '  that  I  may  be  rich  in  good  works, 
laying  up  in  store  a  good  foundation  against  the  time  to  come,  that  I  may 
lay  hold  on  eternal  life.'  'Why,  prithee,  what  dost  thou  with  them?'  said 
he.  '  Clothe  the  naked,'  said  she.  With  that  his  countenance  fell.  So 
he  forebore  to  come  at  her  again  and  when  he  was  asked  the  reason  why, 
he  said,  that  '  Mercy  was  a  pretty  lass,  but  troubled  with  ill  conditions.'  " 

"  When  he  had  left  her.  Prudence  said,  '  Did  I  not  tell  thee,  that  Mr. 
Brisk  would  soon  forsake  thee  ?  yea,  he  will  raise  up  an  ill  report  of  thee ; 
for,  notwithstanding  his  pretence  to  religion,  and  his  seeming  love  to  Mercy, 
yet  Mercy  and  he  are  of  tempers  so  different,  that  I  believe  they  will  never 
come  to-gether.'  " 

"  '  I  might  have  had  husbands  afore  now  '  (said  Mercy)  '  though  I  spake 
not  of  it  to  any;  but  they  were  such  as  did  not  like  my  conditions,  though 
never  did  any  of  them  find  fault  with  my  person.  So  they  and  I  could  not 
agree.'  "  " 

Even  more  remarkable  is  Bunyan's  sympathetic  treatment 
of  the  "  boys " ;  for  example,  the  description  of  Matthew's 
illness  in  the  House  of  the  Interpreter. 

"  When  the  potion  was  prepared,  and  brought  to  the  boy,  he  was  loath  to 
take  it,  though  torn  with  the  gripes  as  if  he  should  be  pulled  in  pieces. 
'  Come,  come,'  said  the  physician,  '  you  must  take  it.'  '  It  goes  against 
my  stomach,'  said  the  boy.  '  I  must  have  you  take  it,'  said  his  mother. 
*  I  shall  vomit  it  up  again,'  said  the  boy.  '  Pray,  Sir,'  said  Christiana  to 
Mr.  Skill,  'how  does  it  taste?'  'It  has  no  ill  taste,'  said  the  doctor;  and 
with  that  she  touched  one  of  the  pills  with  the  tip  of  her  tongue.  '  Oh, 
Matthew,'  said  she,  '  this  potion  is  sweeter  than  honey.  If  thou  lovest 
thy  mother,  if  thou  lovest  thy  brothers,  if  thou  lovest  Mercy,  if  thou  lovest 
thy  life,  take  it.'  So  with  much  ado,  after  a  short  prayer  for  the  blessing 
of  God  upon  it,  he  took  it  and  it  wrought  kindly  with  him."  ^^ 

The  Life  and  Death  of  Mr.  Badman-,  while  inferior  to  Pil- 
grim's Progress,  of  which  it  is  the  counterpart,  is  nevertheless 
a  most  interesting  narrative.  The  dialogue  framework  is  awk- 
ward, the  hero's  character  repulsive,  and  the  sermons  and  argu- 

^  Pilgrim's  Progress,  Offer  ed.  ii.  200-01. 
'^  Ibid.,  p.  202. 


125 

ments  too  numerous,  but  these  defects  are  almost  counterbal- 
anced. The  personalities  of  the  authoritative  Mr.  Wiseman  and 
the  eager  Mr.  Attention  are  nicely  and  consistently  differen- 
tiated, the  comments  and  moral  reflections  are  all  appropriate, 
the  illustrative  stories  to  the  point,  and  the  daily  life  of  Badman, 
his  wretched  wife,  and  their  neighbors,  is  pictured  vividly  and 
with  wonderful  precision.  There  could  be  no  better  proof  of 
Bunyan's  aesthetic  sense  than  the  simple  description  of  the 
death  of  the  heart-broken  wife  and  the  equally  peaceful  end  of 
her  wicked  husband.  In  a  few  graphic  phrases  he  sets  a 
homely  scene  or  dramatic  situation  before  us  more  effectively 
than  Richardson  with  his  quantities  of  minute  detail.  Inci- 
dentally, it  is  interesting  to  find  Bunyan  using,  though  pre- 
sumably without  any  intention  to  deceive,  such  a  device  for 
gaining  credence  as  the  backing  up  of  one  improbable  story 
with  another,  and  vouching  for  its  truth  on  the  reputation  of 
the  narrator,  a  device  which  we  associate  with  Defoe. 

Grace  Abounding  to  the  Chief  of  Sinners,  is  not,  strictly 
speaking,  fiction,  but  neither  is  it  a  literally  true  account  of 
Bunyan's  life.  His  sensitive  conscience  and  vivid  imagination 
caused  him  to  picture  his  spiritual  experiences  in  the  most  glar- 
ing colors.  In  relating  these  personal  experiences  he  displayed 
great,  though  unconscious,  art,  in  subordinating  the  unim- 
portant, in  elaborating  the  significant,  in  seizing  dramatic  possi- 
bilities, in  blending  the  objective  and  subjective  events  of  his 
life,  and  in  firing  the  whole  with  his  fervid  religious  enthusi- 
asm. The  Holy  War  has  very  little  narrative  element,  but  in 
common  with  all  of  Bunyan's  work,  it  contains  many  inter- 
spersed anecdotes  which  would  themselves  prove  his  genius 
for  story-telling. 

As  was  to  be  expected,  Pilgrim's  Progress  and  Mr.  Badman, 
and  more  particularly  the  former,  were  immensely  popular. 
The  first  part  of  the  allegory  appeared  in  1678,  and  had 
reached  its  fourteenth  edition  in  1702,  and  its  twenty-fourth  in 
1743 ;  while  part  II,  which  did  not  appear  until  1684,  was  in  its 
fourteenth  edition  in  1743.  There  were,  moreover,  a  spurious 
second  part ;  a  burlesque  Hue  and  Cry  after  Conscience  (1684), 
at  least  two  similar  allegories  by  Benjamin  Keach,  Travels  of 


126 

True  Godliness  {1684),  and  The  Progress  of  5"/»  (1685),  imita- 
tions so  close  as  to  be  little  better  than  redactions  ;  and  two  verse 
versions  of  the  original.^*  References,  after  1700,  are  common, 
and  although  Young,  Addison,  Lady  Mary  Montague,  and 
Swift,  seem  to  have  regarded  it  with  varying  degress  of 
condescension,  there  were  a  few,  like  Cowper,  who  perceived  its 
literary  merit,  and  whether  complimentary  or  otherwise  all  these 
allusions  indicate  that  the  work  was  w^ell  known,  if  not  ad- 
mired, by  the  educated."*  By  1700,  or  at  the  latest  1719,  when 
Gildon  wrote,  it  was  familiar  to  every  child  and  had  become 
part  of  the  common  inheritance  of  the  nation.^^  It  would 
seem  natural  then,  for  it  to  have  had  a  strong  influence  on  the 
narrative  and  on  the  development  of  fiction  generally,  but  such 
is  not  the  case.  An  Account  of  some  Remarkable  Passages  in 
the  Life  of  a  Private  Gentleman;  with  Reflections  thereon^^^ 
(1708),  shows  not  so  much  direct  copying  from  Pilgrim's 
Progress,  as  the  wide-spread  interest  in  the  portraying  of  the 
spiritual  or  moral  life  of  a  character.  Passages  like  the  follow- 
ing are  unusual  for  though  moral  precepts  were  rife,  religious 
fervor  was  rare.^^ 

"  O  let  my  Soul  Bless  Thee,  my  dear  God,  that  when  I  thus  forsook  Thee, 
Thou  didst  not,  as  I  deserved,  cast  me  off  utterly.  Wonder,  O  my  Soul  at 
thy  own  desperate  folly,  and  the  amazing  Patience  and  Goodness  of  God ! 
O  never  forget  it,  to  maintain  Humility,  Watchfulness,  Prayer  and  Contin- 
uous Praise." 

On  the  whole,  Bunyan's  work  stands  apart  as  the  culmination 

"One  in  1698  by  Ager  Scholan,  the  other  in  1700  by  Francis  Hoffman 
Gray.     There  is  a  full  list  in  Brown's  Life  of  John  Bunyan. 

"*  For  a  collection  of  the  various  opinions  expressed  by  the  literary  people 
of  the  eighteenth  century  see  the  Saturday  Review,  Aug.  7,  1880,  XLVHI. 
167. 

^  Charles  Gildon  writes  in  his  Life  and  Surprising  Adventure  of  Mr. 
DeF.,  etc.,  1719.  "There  is  not  any  old  Woman,  that  can  go  the  Price  of  it, 
but  buys  thy  Life  and  Adventures  (of  Robinson  Crusoe)  and  leaves  it  as  a 
Legacy  with  the  Pilgrim's  Progress,  the  Practice  of  Piety  and  God's  Revenge 
against  Murther  to  Posterity."  Quoted  by  Lee,  Daniel  Defoe,  his  Life  and 
Hitherto  unknown  Writings,  i.  298. 

^'^  This  work  is  sometimes,  though  erroneously,  attributed  to  Defoe. 

"In  The  Autobiography,  p.  418,  A.  R.  Burr  lays  considerable  stress  on 
the  religious  fervor  and  introspective  qualities  of  the  group  of  Quaker 
journals,  some  thirty-eight,  written  between  1660  and  1710. 


127 

of  the  allegory  rather  than  among  the  sources  of  the  novel  of 
domestic  life. 

Daniel  Defoe" 

Daniel  Defoe  served  his  apprenticeship  in  literature  as  a 
journalist  and  throughout  his  life  retained  the  journalistic 
point  of  view.  His  subjects  are  always  opportune,  his  title- 
pages  "  catchy,"  his  methods  sensational,  and  his  style  collo- 
quial. Yet  his  is  a  success  not  to  be  attributed  merely  to  re- 
portorial  cleverness  or  literary  trickery ;  on  no  such  superficial 
basis  would  Robinson  Crusoe  have  become  a  world  classic. 
Just  how  much  Defoe  had  done  in  the  field  of  prose  fiction 
prior  to  the  publication  of  Robinson  Crusoe  in  1719  is  uncer- 
tain. Training  in  narrative  art  was  afforded  by  compilations 
of  descriptive  and  illustrative  anecdotes  such  as  The  Storm 
(1704),  by  expository  accounts  of  political  transactions  such 
as  The  Secret  History  of  the  October  Club  (1711),  The  Secret 
History  of  the  White  Staff  (1714),  and  the  like.  Moreover,  as 
early  as  1705,  he  had  tried  his  hand  at  something  like  a  political 
romance  in  The  Consolidator,  and  the  succeeding  year  in  The 
True  Relation  of  the  Apparition  of  one  Mrs.  Veal,  so  long  re- 
garded as  a  pure  invention,^'^^  he  had  proved  himself  a  master 
reporter.  In  the  latter  we  find  all  the  little  devices  for  gaining 
credence — the  abundant  and  often  irrelevant  detail,  the  plaus- 
ible but  fallacious  reasoning,  the  apparent  disinterestedness  of 
the  narrator,  and  the  clever  answering  of  doubts  and  misgiv- 
ings— which  are  so  conspicuous  in  his  later  writings.  In  1715, 
we  find  him  trying  his  favorite  form,  the  autobiography,  in  the 
History  of  the  Wars  of  his  present  Majesty  Charles  XH,  King 
of  Sweden,  for  he  put  the  military  history  of  that  monarch  in 

"W.  Lee,  Daniel  Defoe:  His  Life  and  Recently  Discovered  Writings,  3 
vols.,  London,  1869. 

Novels  and  Miscellaneous  Works,  etc.,  20  vols.,  Oxford,  1840-41. 

W.  P.  Trent,  "  Bibliographical  Notes  on  Defoe,"  The  Nation,  June  6, 
July  II,  Aug.  IS,  and  29,  1907;  LXXXIV.  515;  LXXXV.  29,  140,  180. 

To  Professor  Trent  I  am  greatly  indebted  for  information  and  suggestions 
about  Defoe's  narratives. 

"■  Cf.  "  The  Apparition  of  Mrs.  Veal  "  by  G.  A.  Aitken  in  Nineteenth 
Century,  37.  95,  1895. 


128 

the  form  of  a  memoir  of  a  "  Scots  Gentleman  in  the  Swedish 
Service."  In  1718,  came  the  Continuation  of  the  Letters  of  a 
Turkish  Spy,^'^  and  finally,  in  An  Historical  Account  of  the 
Voyages  and  Adventures  of  Sir  Walter  Raleigh  (1719),  Defoe 
dealt  with  the  material  he  utilized  so  largely  in  his  narratives. 
Such,  in  the  main,  is  what  we  know  of  the  author's  special 
preparation  to  write  Robinson  Crusoe,  although  it  is  not  im- 
probable that  he  revised  or  translated,  in  part  at  least,  some  of 
the  numerous  memoirs  then  current. 

The  Life  and  Strange  Surprising  Adventures  of  Robinson 
Crusoe  of  York,  Mariner,  appeared  on  April  25,  1719,  and  on 
August  8,  of  the  same  year  was  reprinted  for  the  fourth  time. 
At  about  the  same  date  as  the  fourth  edition,  Defoe  published 
The  Farther  Adventures  of  Robinson  Crusoe,  Being  the  Second 
and  Last  Part  of  his  Life,  and  the  ensuing  year  1720,  Serious 
Reflections  of  Robinson  Crusoe,  but  neither  of  these  is  com- 
parable to  the  first  part,  and  indeed,  it  is  no  exaggeration  to 
say  that  upon  that  alone  rests  the  fame  of  the  work.  The 
universal  and  perennial  interest  of  Crusoe's  problem  on  the 
uninhabited  island  was  developed  to  the  utmost  by  the  author's 
skilful  treatment.  In  the  hero,  Crusoe,  who  successfully 
overcomes  all  his  difficulties  not  by  the  help  of  unusual  powers 
or  supernatural  assistance,  but  by  ingenuity,  pluck,  and  hard 
labor,  we  have  a  universal  type;  the  embodiment  of  efficiency 
and  the  ideal  of  the  practical  man.  This  very  human  char- 
acter is  presented  to  us  by  Defoe  with  marvellous  force  and 
consistency.  As  Mr.  Lee  expresses  it  "every  moment  of  his 
waking  day  is  accounted  for,"  we  know  his  thoughts,  his 
sensations,  his  hopes,  his  fears,  his  every  movement.  Crusoe 
is,  however,  primarily  a  man  of  action,  and  his  sensations  even 
in  the  classic  instances  of  the  discovery  of  the  foot-print  and 
Poll's  calling  him  by  name,  are  largely  described  in  terms  of 
the  resultant  action.  The  memoir  structure  is  particularly 
happy,  for  it  permits  the  hero  to  talk  directly  to  the  reader 
and  gives  an  air  of  naturalness  to  the  interpolated  moraliza- 
tions,  explanations,  and  running  comments  on  the  past. 

The  second  part,  concerning  Crusoe's  adventures  in  "  Three 

"'•  Accepted  as  Defoe's  by  James  Crossley  and  Professor  Trent. 


129 

Parts  of  the  World,"  although  giving  a  vivid  relation  of 
travels  in  China  and  Russia  and  displaying  Defoe's  usual 
accurate  knowledge  and  firm  grasp  of  the  subject,  comes  as 
an  anti-climax  to  the  more  interesting  episodes  on  the  island. 
In  the  Serious  Reflections  the  didactic  element  which  is  prom- 
inent throughout  the  narrative  becomes  paramount.  Defoe 
did  not  write  Robinson  Crusoe,  to  inculcate  a  moral  lesson  in 
the  sense  that  Bunyan  wrote  Mr.  Badman,  but  on  the  other 
hand,  his  didacticism  is  no  superficial  and  perfunctory  com- 
pliance with  the  prevailing  taste.  A  further  unity  is  given 
to  the  narrative  by  the  fact  that  all  Crusoe's  disasters  arose 
out  of  his  discontent  with  that  "  state  of  life  unto  which  it  had 
pleased  God  to  call  him."  It  was  this  discontent  which  in- 
duced him  to  run  away  to  sea  in  defiance  of  the  wishes  of  his 
parents,  it  was  discontent  again  that  led  him  to  leave  Brazil 
on  his  disastrous  trip,  and  it  was  discontent  that  led  him  to 
leave  home  and  children  to  revisit  his  island.  Defoe  regarded 
this  restlessness  as  an  evidence  of  presumption  and  ungodliness, 
invariably  leading  to  a  reckless  life  and  a  scornful  disregard 
of  warnings  and  admonitions.  Disaster  brought  the  hero  to  a 
recognition  of  his  evil  life  and  hence  to  repentance  and  reform. 
Defoe's  religion,  as  exhibited  in  his  fiction,^^*"  is  clear,  practical, 
and  very  satisfactory,  but  painfully  lacking  in  spirituality  and 
emotion.  He  demanded  little  more  than  the  acceptance  of  a 
general  creed,  compliance  with  certain  ceremonies  and  observ- 
ances, and  obedience  to  moral  precepts, — in  a  word  the  religion 
of  common  sense. 

In    Captain   Singleton,^^   Moll   Flanders,^^    Colonel   Jack,-'^ 
and  Roxana-^  Defoe  combined  material  collected  from  the 

^'"^  In    some    of   his   tracts,    as,   for   example.    Due   Preparations   for   the 
Plague,  a  much  more  spiritual  religion  is  expounded. 

"  The  Life,  Adventures,  and  Piracies  of  the  Famous  Captain  Singleton, 
etc.,  1720. 

"  The  Fortunes  and  Misfortunes  of  Moll  Flanders  who  was  born  in  New- 
gate, etc.,  1722. 

^  The   History   and   Remarkable   Life   of   the    truly   Honourable   Colonel 
Jacque,  vulgarly  called  Col.  Jack,  etc.,  1726. 

^The  Fortunate  Mistress;  or  a  History  of  the  Life  and  Vast  Variety  of 
Fortunes  of  Mile,  de  Belau,  etc.,  1724. 
10 


130 

prolific  criminal  literature  and  the  narratives  of  adventure. 
Except  in  so  far  as  Defoe  was  dealing  with  crime  from  the 
point  of  view  of  the  criminal,  his  narratives  have  little  in 
common  with  the  Spanish  picaresque  miscellanies.  His 
models  were  the  biographies  of  actual  criminals,  of  which  he 
himself  wrote  a  number.  With  inimitable  seriousness  these 
very  real,  and  very  English,  criminals  tell  us  their  plausible 
stories.  They  are  not  bad  at  heart,  but  are  forced  by  circum- 
stances into  their  evil  ways,  gradually  become  hardened,  and 
go  from  bad  to  worse.  Selfish  they  certainly  are  and  they 
always  have  an  eye  to  the  main  chance,  but  they  are  rarely  un- 
grateful or  unkind,  nor  have  they  any  of  the  roguishness, 
cynicism,  or  cruel  deviltry  of  the  picaro.  They  are  never  en- 
tirely happy  or  contented,  but  are  perpetually  longing  to  desert 
their  evil  ways  for  an  honest  life,  or  rather,  what  that  life 
stands  for — respectability.  They  never  do  reform,  however, 
till  well  on  in  years,  when  a  life  of  adventure  has  little  attrac- 
tion. Capt.  Singleton  and  Col.  Jack,  children  of  shame  and 
social  outcasts  from  childhood,  become  lawless  sea  rovers, 
the  one  a  pirate,  the  other  a  contraband  trader,  and  in  the 
accounts  of  their  voyages  Defoe  displays  the  most  minute 
information  as  well  as  wonderful  descriptive  powers.  Bob 
Singleton's  trip  across  Africa  is  convincingly  vivid  and  accu- 
rate. Moll  and  Roxana,  likewise,  are  handicapped  from  child- 
hood, but  not  to  such  an  extent  as  Bob  and  Jack.  Moll, 
being  pretty  and  clever,  attracted  the  attention  of  a  wealthy 
lady  who  brought  her  up  almost  like  one  of  her  own  children. 
Her  ruin  was  wrought  by  the  eldest  son  of  her  patroness. 
Thus  in  the  opening  chapters  we  have  a  situation  somewhat 
similar  to  that  in  Pamela,  but  Moll  did  not  display  the  wit 
and  resolution  of  Richardson's  heroine.  Neither  Moll  nor 
Roxana  are  distinctively  feminine,  in  fact,  the  difference  in 
sex  merely  affects  the  nature  of  their  adventures.  It  is  curi- 
ous that  Defoe's  characters  although  as  substantial  and,  if  I 
may  say  so,  as  tangible,  as  any  in  literature,  possess  little  or 
no  individuality — they  are  simply  "human  nature." 

In   structure,  these  narratives,   like  Robinson   Crusoe,   are 
autobiographic.    Roxana,  the  only  one  of  Defoe's  stories,  in 


131 

which  there  is  an  endeavor  to  develop  a  plot,  is,  I  think,  his 
most  studied  contribution  to  prose  fiction. 

Roxana,  deserted  by  her  husband,  in  order  to  obtain  for  herself  the 
luxuries  that  she  craves,  deserts  her  children.  For  years  she  leads  an 
evil,  yet  from  her  point  of  view,  successful,  life,  but  finally,  when  she  has 
attained  her  ambition — a  wealthy  and  titled  husband — her  ruin  is  brought 
about  by  the  children  she  deserted.  When  her  husband  learns  from  them 
of  her  perfidious  character  he  will  have  no  more  to  do  with  her,  and  cuts 
her  off  absolutely  in  his  will,  so  that  she  is  taken  to  a  debtor's  prison, 
where,  we  are  told,  she  dies  repentant.  (This  part  is  in  the  continuation 
which  may  not  be  by  Defoe.) 

Although  Defoe  seems  to  have  tried  to  individualize  Roxana, 
even  to  give  her  peculiarly  feminine  traits  and  mannerisms, 
he  failed  to  make  her  quite  human.  She  is  too  calculating  to 
make  an  appeal  to  our  sympathies  like  the  impulsive  Moll 
Flanders.  The  minor  characters  are  still  more  inconsistent 
and  unnatural.  Yet  Roxana  is  a  notable  piece  of  work,  for  in 
it  Defoe  went  a  little  higher  in  the  social  scale  and  thus  came 
nearer  to  the  novel  of  manners,  and,  more  important,  attempted 
the  "  circular  plot,"  which  at  this  time  was  practically  unknown 
except  in  the  cumbersome  romances  and  brief  novelettes.  The 
plot,  it  must  be  admitted,  is  clumsy,  many  of  the  episodes  are 
extraneous  and  many  of  the  situations  forced,  but  surely  as  an 
experiment  it  is  not  deserving  of  unmitigated  censure.-^*  The 
didactic  element  is  prominent  for  although  Defoe  chose  crime 
for  his  subject  and  did  not  think  it  necessary  to  execute  strict 
poetic  justice  by  bringing  all  his  heroes  and  heroines  to  an 
evil  end,  yet  he  tried  to  make  his  narratives  as  wholesome  as 
possible,  by  emphasizing  the  miseries,  uncertainties,  and  suffer- 
ings attendant  upon  vice.  The  next  generation  demanded  a 
greater  regard  for  the  proprieties,  and  as  a  consequence,  Noble 
revised  Defoe's  Roxana  to  make  it  conform  to  the  Richard- 
sonian  standard.-- 

Defoe's  other  narratives,  whether  of  real  or  fictitious  char- 
acters, do  not  differ  materially  from  those  we  have  discussed. 

""  Cf.  Chandler,  Lit.  of  Roguery,  ii,  296-98. 

'^The  History  of  Mademoiselle  de  Beleau;  or  the  new  Roxana,  the  fortu- 
nate Mistress,  etc.,  F.  Noble  and  T.  Lowndes,  London,  1775.  The  B.  M. 
catalogue  gives  the  date  1808;  but  Professor  Trent  tells  me  that  in  his  copy 
the  date  1775  is  clearly  printed. 


132 

In  tlic  justly  praised  Memoirs  of  a  Cavalier  (1720),  and  A 
Journal  of  the  Plague  Year  (1722),  he  applied  his  reportorial 
methods  to  the  past  and  produced  such  graphic  pictures  of  the 
preceding  century  that  both  works  have  often  been  regarded 
as  literally  true.  In  The  History  of  the  Life  and  Adventures 
of  Mr.  Duncan  Campbell,  and  in  one  or  two  pamphlets-^  deal- 
ing with  the  "dumb  philosopher"  in  which  Defoe  seems  to 
have  had  some  part,  we  have  a  more  or  less  fictitious  biography 
of  Campbell  in  Defoe's  usual  convincing  manner,  combined 
with  realistic  pictures  of  the  philosopher's  clientele  and 
anecdotes  dealing  with  magic,  apparitions,  and  the  like.  The 
supernatural  seems  to  have  had  a  fascination  for  Defoe,  since 
time  and  time  again  he  returned  to  discussions  of  it,  as  for 
example  in  The  Political  History  of  the  Devil  (1726),  A 
System  of  Magick  (1726),  and  An  Essay  on  the  History  and 
Reality  of  Apparitions  (1727).  Domestic  life  does  not 
figure  prominently  in  the  narratives,  but  many  interesting 
anecdotes  and  illuminating  descriptions  of  contemporary  man- 
ners occur  in  the  aforementioned  Duncan  Campbell  (1720) 
in  such  treatises  as  The  Compleat  English  Tradesman  (1725), 
The  Great  Lazv  of  Subordination  Considered  (1724),  a  dis- 
cussion of  the  servant  problem,  and  in  manuals  of  conduct  of 
which  The  Family  Instructor  (1718),-*  and  Religious  Court- 
ship   (1722)   are  the  best. 

The  first  of  these  little  treatises  discusses  problems  affecting 
family  life.  For  example,  one  of  the  first  illustrations  con- 
cerns filial  obedience.  In  a  family  which  had  been  most 
irreligious  and  particularly  negligent  about  the  observance 
of  the  Sabbath,  both  parents  suddenly  resolved  to  reform,  and 
without  the  least  warning,  issued  orders  on  Sunday  morning 
that  the  children  were  not  to  use  the  coach,  play  cards,  go 
calling,  read  secular  literature,  or  in  short,  indulge  in  any  of 
their  accustomed  worldly  pleasures.  The  oldest  son  and 
daughter,  irritated  by  the  peremptoriness  of  the  decree  and 
angered  by  the  ruthless  destruction  of  their  novels  and  plays, 

^  As  was  remarked  in  connection  with  Mrs.  Haywood,  it  is  not  quite 
clear  which  of  these  pieces  are  by  Defoe  and  which  by  her. 

"A  similar  treatise,  the  New  Family  Instructor  appeared  in  1729. 


133 

were  most  impudent  and  insubordinate,  and  only  after  many 
tempestuous  scenes  were  brought  to  a  proper  sense  of  their 
duty.  A  pleasant  contrast  was  aflforded  by  the  pious  and 
servile  behavior  of  the  younger  children.  Defoe  presents  this 
material  in  a  series  of  dialogues,  or  little  scenes,  connected 
by  the  necessary  explanations.  In  Religious  Courtship  he 
employs  the  same  method  to  show  "  the  necessity  of  marrying 
religious  husbands  and  wives  only,"  A  most  attractive  and 
wealthy  suitor  applied  for  the  hand  of  the  youngest  of  three 
sisters,  thus  proving  he  was  seeking  for  her  in  particular  and 
not  merely  for  an  alliance  with  the  family.  Although  much 
flattered  by  his  attentions,  she  resolved  to  obey  the  behest 
of  her  dying  mother  to  marry  only  "  a  religious  husband." 
Upon  investigation,  she  found  her  promising  suitor  was  of 
"  no  religion,"  so,  though  "  it  did  violence  to  her  inclinations," 
and  brought  down  the  wrath  of  her  irreligious  father,  she  re- 
jected him.  In  time  the  young  gentleman  was  brought  to 
a  consideration  of  his  evil  ways  and  under  the  guidance  of 
a  good  old  man,  a  poor  tenant  on  his  estate,  became  a  most 
devout  Christian.  And  in  due  course  he  married  the  lady, 
with  whom  he  lived  very  happily  for  the  rest  of  his  life.  The 
second  sister  did  not  concern  herself  with  her  suitor's  religion 
but  "left  it  all  to  her  father,"  with  the  consequence  that  she 
found  herself  married  to  a  "  Papist."  The  husband  lived 
only  a  few  years,  and  in  a  discourse  with  her  sisters  shortly 
after  his  decease  his  widow  expatiated  on  the  sorrows  of 
marrying  even  the  best  of  men  if  he  were  of  different  religious 
convictions.  Of  the  didactic  eldest  sister  we  are  merely  told 
that  she  married  "  a  worthy  man."  In  both  these  manuals 
there  are  other  stories,  and  in  all  cases  the  slight  plot  is  almost 
hidden  by  the  didactic  material.  The  characters  are  but 
slightly  individualized, — indeed,  are  but  mouth-pieces  to  ex- 
pound Defoe's  theories.  Nevertheless,  in  these  manuals  De- 
foe brought  the  conduct-book  as  close  to  the  novel  of  manners 
as  was  possible  without  running  into  the  narrative  form;  we 
have  a  rudimentary  plot,  outlines  of  the  characters,  and  a 
rough  description  of  the  setting  and  accessories.  Moreover, 
in  these  two  series  of  dialogues,  not  only  do  the  characters  talk 


134 

with  much  naturalness  and  directly  to  the  reader,  but  each 
episode  is  discussed  from  several  points  of  view,  a  device 
somewhat  similar  to  that  employed  by  Richardson  in  Clarissa 
Harlozce. 

On  Defoe's  purely  literary  qualities — his  admirable  style, 
his  various  devices  for  giving  the  impression  of  verisimilitude, 
his  wonderful  powers  of  description  and  narration — it  is  not 
necessary  to  comment.  Most  of  these  devices  may  be  found 
in  rudimentary  form  in  the  works  of  his  predecessors,  Mrs. 
Behn,  Mrs.  Manley,  John  Bunyan,  Mrs.  Haywood,  and  the 
host  of  anonymous  journalists,  but  never  before  had  they  been 
so  artistically  perfected  and  combined.  And  finally,  Defoe 
was  a  man  of  genius ;  never  before  and  rarely,  if  ever,  since, 
has  a  writer  been  able  to  give  to  the  fictitious  such  a  semblance 
of  the  actual. 

Defoe's  influence  on  the  development  of  prose  fiction  is  very 
difficult  to  estimate.  All  his  works,  and  particularly  Robinson 
Crusoe  were  immediately  popular  in  both  England  and  France. 
But  in  them,  as  we  have  seen,  the  pseudo- journal  and  auto- 
biography culminated,  further  development  along  these  lines 
was  impossible.  Mrs.  Aubin,  who  made  a  point  of  imitating 
Defoe,  simply  added  a  goodly  portion  of  adventure  to  a  senti- 
mental romance,  and  Abbe  Prevost^^  whose  somewhat  closer 
imitation  of  Defoe,  Le  Philosophc  anglois  (1732-39),  was 
translated  as  The  Life  and  Adventures  of  Mr.  Cleveland, 
natural  son  of  Oliver  Cromzvell,^^  in  1736,  added  a  political 
scandal,  a  love  story,  and  sentimental  descriptions  of  the  In- 
dians. To  the  novel  of  manners  and  sentiment,  Defoe  con- 
tributed directly,  very  little,  but  both  The  Family  Instructor 
and  Religious  Courtship  afforded  many  suggestions  both  as 
regards  matter  and  manner.     It  would  be  interesting  to  know 

*  Abbe  Antoine  Frangois  d'Exiles  who  lived  from  1691  to  1763,  wrote 
many  romances,  chief  of  which  is  Memoires  d'un  Homme  de  Qualite 
(1728-32),  containing  the  famous  story  of  Manon  Lescaut.  He  wrote  later 
the  Doyen  de  Killerine,  historie  morale  (1735),  and  translated  among  other 
things,  Richardson's  Pamela,  Clarissa,  and  Grandison.  Cf.  Larousse,  Dic- 
tionnaire  Universel  du  XIX^  siecle. 

^  This  has  even  been  attributed  to  Defoe. 


135 

if  Richardson  was  particularly  indebted  to  them,"  On  the 
whole,  Defoe's  sig-nificancc  in  the  history  of  fiction,  over  and 
above  his  actual  contribution,  rests  not  on  the  introduction  of 
new  forms  or  subjects,  but  on  the  perfecting  of  what  was 
already  in  existence ;  and  his  influence  is  reflected  less  in  imita- 
tions than  in  the  firmer  grasp,  the  more  vigorous  style,  and 
the  greater  naturalism,  displayed  in  all  forms  of  literature. 

^^It  is  an  interesting  fact  that  Richardson  printed  and  continued  Defoe's 
Tour  thro'  the  ivhole  Island  of  Great  Britain. 


CONCLUSION 

In  the  foregoing  discussion  it  has  often  happened  that  works 
of  small  value  have  been  emphasized,  while  famous  classics 
have  been  despatched  in  a  few  lines,  and  that  at  times,  perhaps, 
too  little  attention  has  been  paid  to  chronolog>',  but  the 
writer  hopes  she  has  succeeded  in  conveying  a  fairly  accurate 
idea  of  the  prose  fiction  current  between  1600  and  1740  and 
of  the  tendencies  which  affected  its  development.  Reviewing 
the  subject  very  hastily  from  the  chronological  point  of  view, 
we  may  distinguish  three  periods;  the  first,  extending  from 
1600  to  1660  or  thereabouts,  is  characterized  by  the  predomi- 
nance of  romance;  the  second,  extending  from  about  1660 
to  the  close  of  the  century,  by  the  vogue  of  the  continental 
novels;  and  the  third  and  final  period  extending  from  1700 
to  1740,  by  a  growing  independence  and  increased  activity. 
The  first  period  produced  no  English  narratives  of  merit  or 
of  historical  importance,  but  the  famous  sentimental,  pastoral, 
allegorical  and  heroic  romances  of  France — Astrce,  Argenis, 
Clcopatre,  Cyrus,  etc. — were  given  an  English  dress.  More 
popular  than  any  of  these  was  Cervantes's  great  comic  romance 
Don  Quixote,  which  indicates  that  a  strong  taste  for  realism 
already  existed.  About  1660,  this  taste  for  realism  became 
so  strong  that  the  romances  were  superseded  in  popularity 
by  realistic  French  and  Spanish  stories  developed  from  the 
novcUe  and  greatly  modified  during  the  process.  Their  chief 
characteristics,  immorality,  impudence,  pretended  veracity, 
abundant  detail,  and  lively  colloquial  style,  were  imitated  by 
Mrs.  Behn,  Mrs.  Manley  and  others.  Also  to  this  period 
belong  the  influential  Letters  of  a  Portugese  Nun,  which  had 
so  marked  an  effect  on  the  development  of  sentimentality  and 
on  the  realism  of  emotional  expression.  Likewise  to  these 
years  we  owe  the  admirable  narratives  of  John  Bunyan, 
although  the  latter  scarcely  belong  to  the  history  of  prose 
fiction. 

136 


137 

During  the  third  and  last  period  were  published  the  narra- 
tives of  both  Defoe  and  Swift,  which  fact  in  itself  would  be 
sufficient  to  make  these  years  memorable,  were  they  not  note- 
worthy on  other  scores.  In  the  first  place,  there  was  a  change 
in  the  prevailing  taste,  due  partly  to  a  moral  reaction  and 
partly  to  various  political,  social,  and  economic  causes  which 
brought  about  changes  in  the  character  of  the  reading 
public.  Sentimentalism,  didacticism,  a  love  of  the  picturesque 
and  the  sensational,  a  partiality  for  themes  from  domestic  life, 
and  a  strong  bent  toward  realism  began  to  characterize  fiction. 
In  the  development  of  structure  and  style,  rapid  progress  was 
made.  The  periodical  afforded  an  opportunity  for  the  per- 
fecting of  such  subsidiary  forms  as  the  "  character,"  the  letter, 
and  the  dialogue.  In  the  Sir  Roger  de  Coverlcy  Papers  the 
character-sketch  culminated,  for  without  plot  further  develop- 
ment was  impossible.  Likewise  Defoe  had  perfected  the 
simple  narrative  of  adventure  of  the  autobiographical  type, 
and  together  with  Mrs.  Rowe  had  exploited  the  conduct-book. 
It  remained  to  combine  the  various  elements,  to  utilize  the 
episodes  of  family  life  and  to  develop  the  plot.  Some  prog- 
ress was  made  along  these  lines  in  the  domestic  histories  of 
Mrs.  Haywood,  in  the  rambling  stories  of  Mrs.  Aubin,  and  in 
that  little  group  of  anonymous  novels  of  which  typical  exam- 
ples are  Lindamira,  Love  in  a  Madhouse,  and  Alexis  and 
Sylvia.  During  the  forty  years  from  1700  to  1740,  the  rise 
of  the  novel  of  manners  was  particularly  rapid.  We  can  per- 
ceive direct  progress  toward  Richardson;  his  device  of  the 
letters,  his  favorite  situation  of  virtue  contending  with  vice, 
his  stock  characters  of  the  deluded  girl  and  the  gentlemanly 
rake,  his  excess  of  detail,  his  sentimentality,  and  his  morality, 
not  only  existed,  but  were  common. 


•    APPENDIX   A 

SUMMARY  OF  PARTHENISSA 

"  The  sun  was  already  so  far  declined  that  the  heat  was 
not  offensive,  when  a  stranger  richly  armed,  and  proportion- 
ately blest  with  all  the  gifts  of  Nature  and  education,  alighted 
at  the  Temple  of  Hieropolis  in  Syria,  where  the  Queen  of  Love 
had  settled  an  Oracle,  as  famous  as  the  Deity  to  whom  it  had 
been  dedicated.  The  stranger  .  .  .  commanded  his  servant  to 
enquire  out  some  retired  lodging  for  him,  which  whilst  he  was 
so  doing,  his  master  walked  about  the  sacred  place,  without  so 
much  as  regarding  the  beauty  and  rareness  of  the  structure 
and  with  so  languishing  and  careless  a  pace,  that  those  which 
considered  it,  easily  judged  'twas  chiefly  the  distemper  of  the 
mind  which  had  so  strong  an  influence  over  his  body."^  The 
priest  Callimachus  immediately  perceived  from  the  elegance  of 
his  manner  that  he  had  a  guest  of  no  mean  rank,  and  with 
much  humility  begged  him  to  unburden  his  breast.  After 
many  tears,  sighs  and  apologies  "  for  these  effeminacies,"  the 
hero  began  his  dolorous  tale.  His  name  was  Artabanes,  scion 
of  the  Median  and  Persian  royal  families,  a  general  in  the 
Persian  army  and  the  ardent  lover  of  the  divine  princess  Par- 
thenissa.  Long  had  he  concealed  his  passion  when  there 
arrived  at  court  the  Ethiopian  prince,  Ambixerles,  with 
pictures  of  his  twenty-four  ladies,  who  challenged  to  mortal 
combat,  any  knight  so  hardy  as  to  maintain  any  woman  living 
or  dead,  to  exceed  in  beauty  his  peerless  princesses.  Arta- 
banes, as  the  '  servant '  of  Parthenissa,  immediately  entered 
the  lists  and  very  shortly  brought  the  Ethiopian  to  the  feet  of 
his  mistress.  In  the  fray,  however,  the  hero  had  met  with 
several  injuries  which,  combined  with  his  anxiety  lest  his  fair 
mistress  should  be  more  enraged  at  his  publishing  his  passion 

^  This  is  the  conventional  opening  and  is  a  direct  imitation  of  the  Greek. 
This  episode  occurs  in  Polexandre. 

138 


139 

than  pleased  at  the  estabHshment  of  her  perfection,  brought 
him  to  such  a  sorry  pass  that  had  not  the  object  of  his  affec- 
tion, the  fair  Parthenissa  herself,  condescended  to  visit  him, 
death  would  surely  have  carried  him  off.  No  sooner  was  he 
recovered  than  he  was  forced  to  enter  the  lists  against  a  rival 
for  the  princess's  favor,  and  a  formidable  rival  too,  no  less  a 
person  than  the  King's  favorite  general,  Surenna.  The  hero 
once  more  proved  his  prowess  and  his  magnanimity,  for  having 
brought  his  opponent  to  the  earth  he  graciously  spared  his  life. 
Surenna  was  unworthy  of  such  treatment  since,  being  deter- 
mined that  Artabanes  should  not  enjoy  the  favor  of  the  lady, 
he  resorted  to  the  trick  of  dropping,  in  a  spot  where  he  knew 
the  guileless  Artabanes  would  surely  find  it,  a  forged  note, 
wherein  was  indicated  that  he  (Surenna)  and  the  fair  Par- 
thenissa were  on  the  friendliest  terms.  Artabanes  found  it, 
read  it,  believed  it,  and  without  more  ado  departed  straightway 
for  Rome.  Here  the  narrator  had  occasion  to  mention  his 
friend  Artavasades  and  forthwith  told  of  that  unhappy  man's 
love  for  the  peerless  Altazeera,  whom  the  king  had  designed 
for  Pacorus.  To  return  to  the  main  thread ;  Rome  proved  too 
gay  for  the  melancholy  Artabanes  and  he  determined  to  re- 
move to  the  Alps  where  he  might  nurse  his  sorrow  in  soli- 
tary grandeur,  but,  just  as  he  was  departing,  a  friend  arrived 
from  Persia,  who  laid  bare  Surenna's  perfidy  and  the  match- 
less constancy  of  the  divine  Parthenissa.  [Here  the  feelings 
of  the  narrator  overcame  him,  and  he  let  the  recounting  of  his 
adventures  devolve  upon  his  faithful  servant  Simander.] 

When  the  generous  Artabanes  learned  the  truth,  he  set  out 
for  Persia,  but  on  the  way  was  seized  by  pirates  and  sold  as 
a  slave  to  Pompey.  He  soon  managed  to  escape,  aroused 
his  companions  and  came  forth  at  the  head  of  an  army  as  the 
historic  Spartacus.  He  took  Cyprus,  where  among  his 
prisoners  were  Perolla  and  Isadora,  who  took  turns  in  telling 
their  woful  history.  Like  Romeo  and  Juliet  they  were  lovers 
belonging  to  rival  houses  between  which  there  existed  a  bitter 
feud.  And  "  although  Perolla  many  times  saved  the  life  of 
Isadora's  father,  and  though  he  deserted  his  own  parent  in 
the  crisis  of  a  battle  for  the  sake  of  his  fair  mistress,"  her 


140 

father  remained  resolutely  obstinate  and  designed  her  for 
Flamminius.  That  despised  suitor  was  no  sooner  acquainted 
with  the  situation  than  he  did  all  in  his  power  to  help  the 
lovers.  Then  came  Hannibal  who  took  them  prisoners  and 
himself  fell  in  love  with  the  charming  Isadora.  To  court 
her  he  gave  over  the  toils  of  war  to  Maharbal,  and  at  last  we 
know  why  he  did  not  march  to  Rome — Isadora  persuaded 
him  not  to  destroy  the  city  of  her  birth.  Death  carried  off 
Hannibal  and  the  lovers  returned  to  Cyprus  where  they  were 
taken  prisoners  by  Spartacus,  before  whom  they  laid  the  case 
of  their  thwarted  love.  The  noble  Spartacus  having  heard 
their  tale  and  also  that  of  their  parents,  decided  in  favor  of 
the  lovers  and  had  them  married  in  the  presence  of  the  assem- 
bled army  and  suddenly  repentant  fathers.  At  this  point  a 
messenger  arrived  who  informed  Spartacus,  alias  Artabanes, 
that  Surenna  was  poisoning  the  mind  of  the  faithful  Par- 
thenissa,  whereupon  the  general  set  sail  for  Persia. 

Simander  had  reached  this  point  when  narrator  and  listener 
were  startled  by  a  great  noise  and,  rushing  toward  the  woods 
where  they  had  seen  Artabanes  disappear,  met  him  returning 
with  a  knight  he  had  rescued  from  assassins.  The  stranger 
proved  to  be  the  valiant  Artavasdes,  whose  love  affair  Arta- 
banes had  confided  to  the  priest.  After  much  persuasion  he 
was  induced  to  continue  his  story  from  the  time  of  his  banish- 
ment. During  his  absence  pressure  had  been  brought  to  bear 
upon  the  fair  Altazeera  to  force  her  to  marry  the  son  of 
Mithridates,  and  upon  his  fortuitous  death,  the  Prince  Pacorus. 
The  latter  was  severely  wounded  in  battle,  and  Artavasdes, 
thinking  death  might  ensue,  determined  to  visit  his  lady.  To 
this  end  he  disguised  himself  as  a  menial,  entered  the 
king's  service,  and  managed  to  be  continually  with  the  princess. 
But  when  he  discovered  himself,  the  lady  fainted  in  his  arms, 
which  episode  having  been  viewed  by  an  enemy,  would  cer- 
tainly have  brought  about  the  ruin  of  the  pair,  had  not  the 
ready  lie  of  a  servant  and  the  generosity  of  Pacorus  (who  had 
miraculously  recovered)  come  to  the  rescue.  Shortly  after- 
wards, Pacorus  married  Altazeera  and  the  former,  not  being 
of  a  jealous  disposition,  treated  the  lover  with  great  honor  and 


141 

consideration  and  even  went  so  far  as  to  invite  him  to  his 
court.  But  the  broken-hearted  Artavasdes  preferred  to  retire 
to  the  Temple  at  Hieropolis. 

Simander  again  took  up  the  story  of  his  master,  and  we  are  I 
informed  that  Artabanes,  after  landing  in  Persia,  came  upon 
two  men  (only  survivors  of  some  scores)  engaged  in  a  death 
struggle,  while  a  beautiful  woman  wearing  a  blue  veil  was  being 
drawn  wildly  about  the  meadow  by  terrified  horses.  Without 
more  ado,  the  hero  immediately  assisted  the  weaker  of  the 
combatants,  but  nevertheless  it  was  not  long  before  the  latter 
was  laid  helpless  upon  the  turf.  The  victor  called  a  halt, 
proved  himself  to  be  Artabanes'  friend,  and  explained 
that  he  had  been  fighting  with  Surenna  for  the  possession  of 
Parthenissa  (the  lady  in  the  chariot)  whom  that  villain  had 
abducted.  There  were  explanations  and  apologies  on  the  part 
of  Parthenissa  and  Surenna  (who  was  not  killed  after  all) 
and  the  whole  party  set  out  for  home  where  they  arrived  after 
many  adventures.  On  the  return  to  court  new  trouble  was  in 
store  for  the  lovers,  for  the  King  himself  had  fallen  a  victim 
to  the  charms  of  the  peerless  Parthenissa.  Consequently,  it 
was  not  long  before  Surenna,  whom  the  king  now  regarded  as 
a  rival,  was  arrested  on  some  pretext  and  executed  in  the 
public  place  amid  the  loud  lamentations  of  the  assembled  mul- 
titude. Parthenissa,  regarding  her  situation  as  hopeless,  drank 
poison,  and  as  in  the  instance  of  Cleopatra,  her  women  shared 
her  fate.  As  Simander  was  concluding  his  account,  Cal- 
limachus  received  an  answer  from  the  oracle: 

From  Parthenissa's  ashes  I  will  raise 

A  Phoenix,  in  whose  Flames  thou  shalt  be  blest ; 

Wait  then  about  this  Temple  a  few  days, 

And  all  thy  Torments  shall  be  crowned  with  Rest. 

Despair  not  Artavasdes,  since  the  time. 
Predestined  for  thy  sufferings  is  but  brief ; 
Fortune  unto  thy  virtues  shall  resign  ; 
And  perfect  joy,  succeed  to  equal  Grief. 

Go  both  and  sacrifice  to  that  fair  Boy, 

Who  did  inspire  my  highest  Grief  and  Joy.' 

'  Parthenissa,  p.  523. 


142 

Wliilc  pondering  upon  the  significance  of  this  cryptic  reply, 
the  attention  of  the  whole  party  was  distracted  by  the  landing 
of  a  youth  and  two  beautiful  ladies,  one  of  whom  was  the 
exact  image  of  Altazeera  and  the  other  of  Parthenissa.  They 
soon  passed  out  of  sight  and  the  lovers  marvelled  much,  but 
the  generous  Artavasdes  knew  his  lady  was  a  queen  in  Media 
and  the  noble  Artabanes  was  equally  sure  his  lady  was  dead, 
and  both  were  certain  that  neither  lady  could  be  guilty  of  in- 
constancy. While  they  sat  there  waiting  for  the  return  of  the 
strangers,  Callimachus  related  his  adventures.  His  real  name 
was  Ariobazanes,  King  of  Pontus.  He  had  madly  loved 
Statira,  daughter  of  Mithridates,  and  in  return  for  the  in- 
numerable victories  he  had  won  for  her  father,  had  been 
promised  her  hand,  but  at  the  last  moment  Mithridates  dis- 
covered that  the  King  of  Cyprus  to  whom  he  had  formerly 
betrothed  his  daughter  was  not,  as  rumor  reported,  dead,  so  he 
broke  his  promise  to  Ariobazanes  and  constrained  poor  Statira 
to  marry  the  King  of  Cyprus.  The  heart-broken  lover  had 
retired  to  Hieropolis  and  become  a  priest  to  Venus. 

Here  the  story  ends,  or  rather  breaks  off,  leaving  the  reader 
to  unriddle  the  oracle  and  guess  who  the  strangers  were. 


BIBLIOGRAPHY 

WORKS   OF   GENERAL   REFERENCE 
This  does  not  pretend  to  be  a  complete  list  of  all  the  works 
bearing  upon  the  subject  but  only  of  those  found  most  helpful 
in  the  preparation  of  this  study. 
Charlanne,  Louis,  V Influence  Franqaise  en  Angleterre  au  XVIP 

siecle.     Paris,  1906, 
Cross,  W.  B.,  Development  of  the  English  Novel.     New  York, 

1899. 
Dictionary  of  National  Biography.    Ed.  Leslie  Stephen  and  Sid- 
ney Lee.     London,  1889-94. 
Dunlop,  J.   C,  History  of  Fiction.     New  ed.,  revised  with 
notes,  appendices,  and  index  by  Henry  Wilson.     2  v. 
New  York,  1906. 
Ehrenthal,  H.  N.,  English  Novelists.     Rostock,  1874. 
Elton,  O.,  Augustan  Ages.     (Periods  of  European  Literature, 

V.  viii.)     New  York,  1906. 
Forsyth  Wm.,  Novels  and  Novelists  of  the  Eighteenth  Century. 

London,  1871. 
Fiirst,  Rudolf,  Die  Vorldufer  der  Modernen  Novelle  im  achtzehn- 

ten  jahrhundert.     Halle,  1897. 
Grierson,  H.  J.  C.,  The  First  Half  of  the  Seventeenth  Century. 

Edinburgh,  1906. 
Hallam,  H.,  Introduction  to  the  Literature  of  Europe  in  the 
fifteenth,  sixteenth,  and  seventeenth  centuries.     3  v.     Lon- 
don, 1873. 
Hazlitt,  W.  C.,  Lectures  on  the  English  Comic  Writers.    London, 

1819. 
Hettner,  H.,  Geschichte  der  Englischen  Litteratur  (1660-1770). 

5th  ed.     Braunschweig,  1894. 
Hume,  M.,  Spanish  Influence  in  English  Literature.     London, 

1895.  ^    , 

Julleville,  Louis  Petit  de,  Histoire  de  la  Langue  et  de  la 
Litterature  franqaise  des  origines  a  igoo.  8  v.  Paris, 
1896-99. 

143 


144 

Jusscrand,  J.  J.,  English  Novel  in  the  Time  of  Shakespeare. 

London,  1890. 
Kelly-Fitzmaurice,  J.,  History  of  Spanish  Literature.     New- 
York,  1898. 
Koerting,  P.  H.,  Geschichte  des  franzosischen  Romans  im  XVII 

jahrhundert.     Oppein,  1891. 
Lanier,  S.,  The  English  Novel.     New  York,  1900. 
Le  Breton,  A.,  Le  Roman  au  dix-septieme  sihcle.     Paris,  1890. 
Masson,    D.     British    Novelists    and    their    Styles.     Revised 

ed.,  Boston,  1859. 
Morillat,  P.,  Le  Roman  en  France.     Paris,  1895. 
Perry,  B.,  A  Study  of  Prose  Fiction.     New  ed.     Boston,  1903. 
Raleigh,  W.,   The  English  Novel.     Revised  ed.     New  York, 

1904. 
Reynier,  G.,  Le  Roman  Sentimental  avant  VAstree.     Paris,  1908. 
Saintsbury,  G.,  Essays  on  French  Novelists.     2d  ed.    London, 

1891. 
Scott,  M.  A.  E.,  "Elizabethan  Translations  from  the  Italian" 

in  Piibl.  Mod.  Lang.  Assn.  for  1895.     x.  249-295. 
Stoddard,  F.  H.,  The  Evolution  of  the  English  Novel.     New 

York,  1900. 
Traill,  H.  D.,  Social  England.     New  York,  1895-97. 
Tuckerman,  B.,  History  of  English  Prose  Fiction.     New  York, 

1900. 
Underbill,  J.  G.,  Spanish  Literature  in  the  England  of  the  Tudor s. 

New  York,  1899. 
Upham,  A.  H.,  The  French  Influence  in  English  Literature  from 

the  Accession  of  Elizabeth  to  the  Restoration.     New  York, 

1909. 
Utter,  R.  P.,  Studies  in  the  Origin  of  the  English  Novel.     With 

special  reference  to  the  influence  of  the  periodical  essay. 

Unpublished  Harvard  Dissertation.     1906. 
Waldberg,  M.  F.  von,  Der  empfindsame  Roman  in  Frankreich. 

vol.  i.     Strasburg  and  Berlin,  1906. 
Warren,  F.  M.,  History  of  the  Novel  previous  to  the  seventeenth 

century.     New  York,  1895. 

SPECIAL   REFERENCE 

In  addition  to  the  general  works  cited,  the  following  have 
been  found  helpful  in  dealing  with  the  special  topics. 


145 

Chapter  I.     Romanxes  and  Anti-Romances 
Section  i.     Chivalric  Romances 
Ashton,  J.,  Romances  of  Chivalry.     New  York,  1887. 
Southey,  R.,  Amadis  of  Gaiil  translated  from  the  Spanish  version 
of  Garcia  Ordonez  de  Montalvo.     New   edition,  3    vols. 
London,  1872. 

Section  2.     Classical  Romances 

Abbott,  F.  F.,  "Petronius:  A  Study  in  Ancient  Realism," 
in  The  Sewattee  Review,  1899,  vii,  435-443. 

Collegnor,  Albert,  Petrone  en  France.     Paris,  1892, 

Goodwin,  Ch.  J.,  "Romance  Writing  among  the  Greeks,"  in 
The  Sewanee  Review,  v.  290  ff.,  1897. 

The  Greek  Romances  of  Heliodorns,  Longiis,  and  Achilles  Tatius, 
ed.  Rowland  Smith.     (Bohn's  Library.)     London,  1901. 

Lucian,  Works  tr.  by  H.  W.  Fowler,  Oxford,  1905. 

Oeftering,  M.,  "Heliodor  und  seine  Bedeutung  fur  die  Lit- 
teratur"  in  Litterarhistorische  Forschungen,  heft  18, 
Berlin,  1901. 

Petrone,  Apulee,  Aulu-Gelle;  Oeuvres  Completes,  avec  la  tra- 
duction enfrafigaise.  Pub.  sous  la  direction  de  M.  Nisard. 
Paris,  1856. 

Rhode,  E.,  Der  Griechische  Roman  und  seine  Vorlailfer.  Leip- 
zig, 1876. 

Trimalchio' s  Dinner  from  the  Satyricon  of  Petronius.  Ed.  H. 
T.  Peck.     New  York,  1898. 

Section  j.     Arcadian  Romances 
Brunhuber,  K.,  Sir  Philip  Sidney's  Arcadia  und  ihre  Nach- 

Idufer.     Niirhburg,  1903. 
Crossley,   J.,   Sir  Philip  Sidney  and  the  Arcadia.     London, 

1853- 
Davis,  Sarah,  M.,  The  Life  and  Times  of  Sir  Philip  Sidney. 

New  York,  1859. 
Greg,  W.  W.,  Pastoral  Poetry  and  Pastoral  Drama.     London^ 

1905- 
Marsan,  Jules,  La  Pastorale  Dramatique.     London,  1905. 
Rennert,  H.  A.,  "The  Spanish  Pastoral  Romances"  in  Pub. 

Mod.  Lang.  Assn.,  1892,  v.  viii. 
11 


146 

Sidney,  Sir  P.,  The  Countess  of  Pembroke's  Arcadia,  ed.  O. 
Sommcr.     New  York,  London,  1891. 

Section  4.     Etiphuistic  Romances 

Greene,   Robert,    Works,  ed.   Grosart.     (Huth   Libr.)     6    v. 

London, 1883-85. 
Lodge,  Thomas,  Works.     Hunterian  Club  Edition.     Glasgow, 

1883. 
Lyly,  John,  Works.     Ed.  Bond.     Oxford,  1902. 
Wilson,  J.  D.,  John  Lyly.     Cambridge,  1905. 
Wolff,  S.  L.,  "Robert  Greene  and  the  Italian  Renaissance," 

in  Englische  Studien,  1906. 
''Source  of  Euphues;  the  Anatomy  of  Wyt"  in  Mod.  PhiloL, 

vii,  577-85.  April,  1910. 

Sections  5  and  8.     Heroic  and  Miscellaneous  Romances 

Ballard,  George,  Memoirs  of  Several  Ladies  of  Great  Britain. 

Oxford,  1752. 
Cousin,  Victor,  La  Societe  frangaise  au  XVIP  siecle.     2  v. 

Paris,  1886. 
Crane,  Thos.  P.,  La  Societe  frangaise  au  XVIP  siecle.     New 

York,  1900. 
Les  Heros  de  Roman,  Introduction,  New  York,  1902. 
Grosse,  K.,  John  Crowne's  Komodien  und  burleske  Dichtung. 

Leipzig,  1902. 
Huet,  P.  D.,  Lettre  de  M.  Huet  d,  M.  de  Segrais  de  I'origine  des 

Romans,   in  Huetana   (Ana,   v.   viii).      Amsterdam  and 

Paris,  1670. 
Koerting,  P.  H.,  Geschichte  des  franzbsischen  Romans  im  XVII 

Jahrhundert.     Oppeln,  1891. 
Le  Breton,  A.,  Le  Roman  an  Dix-septieme  Siecle.     Paris,  1890. 
Morrillat,  P.,  Le  Roman  en  France.     Paris,  1895. 
Osborne,  Dorothy,  Letters  to  Sir  William  Temple.    Ed.  Parry. 

London,  new  ed.,  1888. 
Philips,    Mrs.    Katherine,    Letters   of    Orinda   to   Poliarchus. 

2d  ed.     London,  1729. 
Reynier,   G.,   Le  Roman   Sentimental  avant  VAstree.     Paris, 

1908. 


147 

Toldo,  P.,  "Le  Courtisan  dans  la  litteraturc  fran^aise  et  ses 
rapports  avec  I'oeuvre  de  Castiglione"  in  A rchiv  ftir  das 
Studium  der  neiiren  Sprachen  nnd  Litteraturen.  March, 
1900,  iv,  n.  s.,  iv,  75  sq. 

Waldberg,  M.  F.  von,  Der  empfindsame  Roman  im  Frankreich. 
Strasburg  and  Berlin,  1906. 

Wells,  B.  W.,  "La  Calprenede  and  Scudery"  in  The  Sewanee 
Review,  1898,  vi,  43953. 

Section  6.     The  Political  and  Allegorical  Romances 
Bergerac,  Savinien  Cyrano  de,  Oetcvres  comiqiies,  galantes  et 
litteraires.     Nouv.  ed.  .  .  .  avec  des  notes  par  P.  L.  Jacob 
Paris,  1858. 
A  Voyage  to  the  Moon.     Ed.  C.  H.  Page.     New  York,  1899. 
Defoe,  Daniel,  The  Consolidator ;  or,  Memoirs  of  sundry  transac- 
tions from  the  world  in  the  moon;  tr.  from  the  lunar  lan- 
guage.    London,  1705. 
Garnier,  C.  G.  T.,  Voyages  Imaginaires.     Paris,  1787. 
Harrington,  James,  Commonwealth  of  Oceana;  with  an  intro- 
duction by  Henry  Morley.     London,  1887. 
Lichtenberger,  A.,  Le  Socialisme  titopique.     Paris,  1898. 
More,  Thos.,  Utopia  in  Ideal  Commonwealths.     Ed.  Andrews. 

(Universal  Classics  Library.)     New  York,  1901. 
Neilson,  W.  A.,  "Nova  Solyma,  a  romance  attributed  to  John 

Milton"  in  Mod.  Philol.  i,  525,  April,  1904. 
Nova  Solyma.     The  Ideal  City,  or  Jerusalem  Regained.     Ed. 

W.  Begley.     New  York,  1902.     2  vols. 
Quevedo  y  Villegas,  Francisco  Gomez,  Comical  Works.     Tr. 

from  the  Spanish  by  John  Stevens.     London,  1708. 
Schmidt,  F.,  John  Barclay's  Argenis.     Eine  litterahistorische 

Untersuchung.     Berlin  and  Leipzig,  1904. 
Swift,  J.,  Prose  Works.     Introduction  by  W.  E.  H.  Lecky. 

London,  1897-1908. 
Von  Mohl,  P.,  Die  Geschichte  und  Litteratur  der  Staatswissen- 
schaften.     Tubingen,  1855-58. 

Section  y.     Anti-Romances 
Cervantes,  Miguel,  Complete  Works.    Ed.  J.  Fitzmaurice-Kclly. 
Glasgow,  1901-03. 


148 

Chandler,  F.  W.,   The  Literature  of  Roguery.     2  vols.     New 

York,  1907. 
Romances  of  Roguery.     Pt.    I.      The    Picaresque   Novel   in 

Spain.     New  York,  1899. 
Claretie,  L60,    Le  Roman  en  France  an  debut  du  18'  Steele; 

Lesage,  romancier,  d'apres  de  nonveax  documents.     Paris, 

1890. 
Furetiere,  A.,  Le  Roman  Bourgeois  .  .  .  aves  notice   et   notes 

par  P.  Jannet.     2  v.     1868. 
Kotz,  F.    O.,  "Nashe's  'Unfortunate    traveller'  und    Head's 

'English  rogue,'  die  beiden  Hauptvertreter  des  englischen 

Schelmenromans  "  in  Anglia,  xxii,  81-140,  1899. 
Lesage,  A.  R.,  Oeuvres  Choisies.     Amsterdam,  1783. 
'Hdishe,Th.os.,  Complete  Works.     Ed.  Grosart.     London,  1883- 

85- 
Works.     Ed.   Ronald  McKerrow.     London,    1904-08. 
Quevedo  y  Villegas,  F.  G.,  The  Spanish  Sharper,  ed.  H.  E. 

Watts.     London,  1892. 
Rabelais,    Francois,    Works    tr.    by    Sir   Thomas    Urquhart. 

(Maitland  Club  Reprint.)     1838. 
Rabelais,  Ed.  C.  H.  Page.     New  York,  1905. 
Roy,  E.,  La  Vie  et  les  Oeuvres  de  Charles  Sorel.     Paris,  1891. 
Scarron,  Paul,  Oeuvres.     Nouv.  ed.     Paris,  1752. 

Comical  romance  and  other  tales  done  into  English  by  Tom 

Brown,  John  Savage  and   others.     With   an  introduction 

by  J.  J.  Jusserand.     London,  1892. 
Wells,  B.  W.,  "Sorel's   Counterblast  to  the  Astree"  in  The 

Sewanee  Review,  v.  279.     1900. 

Chapter  II 
Canby,  H.  S.,  The  Short  Story  in  English.     New  York,  1909. 
Gosse,  E.  "A   Nun's   Letters"  in    Fortn.  Review,  xlix,  o.  s., 

p.  5o6ff. 
Letters  from  a  Portuguese  Nun  to  an  Officer  in  the  French  A  rmy. 

Translated  by  W.  R.  Bowles  in  181 7  and  reprinted  by 

Brentano,  New  York,  1904. 
The   Letters    of   a    Portuguese    Nun.     Translated    by    Edgar 

Prestage.     Repub.  by  Thos.  Mosher.     Portland,  Maine, 

1904. 


149 

Mrs.  Behn 

Kavanagh,  J.,  "The  Life  and  Memoirs  of  Aphra  Behn"  in 

English  Women  of  Letters.     London,  1863. 
Lichtenberger,  A.,  "Aphra  Behn"  in  La  Socialisme  Utopigiie, 

pp.  1-30.     Paris,  1898. 
Plays,   Histories  and   Novels   of  the  Ingenious  Mrs.  Behn, 

Complete  in  six  volumes.     London,  1871. 
Siegel,  P.,  "Aphra  Behn's  Gedichte  und  Prosawerke,"    in 

Anglia,  xxv,  86-128,  329-385. 

Chapter  III 
The  Contributory  Forms 

Baldwin,  C.  S.,  "The  Relation  of  the  Seventeeth  Century 

Character  to  the  Periodical  Essay"  in  Pub.  Mod.  Lang. 

Ass.  of  Am.,  xviii,  1903,  and  xix,  1904. 
"Character  Books  of  the  Seventeenth  Century  in  Relation 

to  the  Development  of  the  Novel"  in   Western  Reserve 

Bulletin,  Oct.,   1900. 
Burr,  A.  R.,  The  Autobiography.     A  Critical  and  Compara- 
tive Study.     Boston  and  New  York,  1909. 
Fox-Bourne,  H.   R.,  English   Newspapers.     2   v.,   London, 

1887. 
Greenough,  C.  N.,  Studies  in  the  Development  of  Character 

Writing.     Harvard  Dissertation,  1904.     Unpublished. 
Morley,  Henry,  Character  Writings  of  the  Seventeenth   Cen- 
tury.    Carisbrooke  Library,     London,  1891. 
The  Spectator,  ed.  H.  Morley.     London,  1891. 
Mrs.   Jane   Barker 

Mrs.   Jane  Barker:  Ein  Beitrag  zur  Ejiglischen  Literatur- 

geschichte.     Munich,  1906. 
The  Oriental  Tale 

The  Oriental   Tale  in  England  in  the  Eighteenth   Century. 

By  Martha  Pike  Conant.     New  York,  1908. 
Richardson 

Hazlitt,  W.  C,   "Samuel  Richardson"  in  Lectures  on  the 

English  Comic  Writers.     London,  18 19. 
Thompson,  C.  L.,  Samuel  Richardson,  A  Biographical  and 

Critical  Study.     London,  1900. 
Thorne,  W.  B.,  "Samuel  Richardson — Famous  Printer"  in 

The  Library,  n.  s.,  HI,  1901. 


150 

Chapter  IV 
The  Popular  Fiction 

Ashton,  J.,  Chapbooks  of  the  Eighteenth  Century.     London,  1882. 
Chandler,  F.  W.,  The  Literature  of  Roguery.     New  York,  1907. 
Deloney,  Thos.,  The  Gentle  Craft.    Ed.,  A.  F.  Lange,  Berlin, 
1903. 
The  History  of  John  Winchomb.     Ed.  J.  O.  Halliwell,  1859. 
Halliwell-Phillipps,  J.  O.,  A  Catalogue  of  Chapbooks,  Garlands, 
and  Popular  Histories.     London,  1849. 
Descriptive   Notices   of  Popular   English   Histories.      Percy- 
Society  Pub.,  1848. 
Bar?iabae   Itinerarium;   or,  Barnahee's   Journal.     Ed  J.  O. 

Halliwell,  1876. 
Paris  and   Vienne;  the  story  of  the  Noble  Ryght   Valyaunt 
Worthy  Knight  Parys  and  the  Fayr  Vyenne.     Roxburghe 
Club  Libr.,  1868. 
The  Tinker  of  Turvey  or  the  Canterbury  Pilgrims.     Ed.  J.  O. 

Halliwell,  1859. 
Westward  for  Smelts,  or  the  Waterman's  fare  of  mad  merry 
Western  wenches  whose  tongues  albeit,  like  Bell-clappers 
they  never  leave  ringing  yet  their  tales  are  sweet  and  will 
much  content  you.  Written  by  Kinde  Kit  of  Kingstone. 
Ed.  for  the  Percy  Soc,  1848,  v.  xxii. 
Thorns,  Wm.  J.,  Early  English  Popular  Histories.     Revised 

ed.,  London,  1907-08. 
John  Bunyan 

The  Life  and  Death  of  Mr.  Badman  and  the  Holy  War.     Ed. 

J.  Brown.     London,  1905. 
Works.     Ed.  George  Offor.     3  v.     London,  1853. 
Browne,  J.,  John  Bunyan.      His  Life  and  Times.     3d  ed. 

London,  1887. 
Dowden   Edward,    Puritan  and    Anglican.     Pp.   231-278. 

London,  1901. 
Grier,  J.  B.,  Studies  in  the  English  of  John  Bunyan.     1872. 
Hazlitt,  W.  C,  "Bunyan  and  his  Prototypes"  in  Thoughts 

in  Solitude,  ch.  xv,  London,  1884. 
Nevins,  J.  B.,  "On  the  influence  of  political  and  religious 
allegory  on  European  thought  for  600  years  and  a  com- 


151 

parison  between  a  Pilgrim's  Progress  by  a  French  monk 
in  the  fourteenth  century  and  Bunyan's  P.  P.  in  the  seven- 
teenth." No.  53  in  Proceedings  of  the  Lit.  and  Phil. 
Soc.  of  Liverpool,  1898-99. 

Wharey,  J.  Blanton,  A  Study  of  the  Sources  of  Bunyan's 
Allegories.     Univ.  of  Penn.  Publ.,  1904. 

Defoe 

Novels  and  Miscellaneous  Works.  .  .  .  including  all  contained 
in  the  ed.  attributed  to  .  .  .  Sir  Walter  Scott,  with  additions. 
20.  V.     Oxford,  1840-41. 

Romances  and  Narratives.     Ed.  G.  A.  Aitken.    London,  1895. 

Aitken,  G.  A.,  "The  Apparition  of  Mrs.  Veal"  in  The  Nine- 
teenth Century,  xxxvii,  95,  1895. 

Lee,  W.,  Daniel  Defoe;  his  Life  and  Newly  Discovered 
Writings,  1716-29.     London,  1869.     3  v. 

Stephen,  Leslie,  "Defoe's  Novels"  in  Hours  in  a  Library, 
V.  i,  pp.  1-63.     New  ed.,  New  York,  1907. 

Trent,  W.  P.,  "Bibliographical  Notes  on  Defoe" — in  the 
Nation,  June  6,  July  11,  Aug.  15  and  Aug.  29,  1907,  i.  e., 
vol.  84,  p.  515,  and  vol.  85,  pp.  29,  149,  180. 

BIBLIOGRAPHICAL    REFERENXE    WORKS 

Arber,  Edward,  The  Term  Catalogues,  1668-1709  A.  D.,  ivith  a 

number  for  Easter  term,  1711,  etc.     London,  1903-06. 
Transcript  of  the  Registers  of  the  Stationers'  Company  .  .  . 

of  London.    London,  1875-1894. 
Betz,  Louis  P.,  La  Litterature  Comparee,  essai  bibliographiqiie. 

Ed.  F.  Baldensperger.     Strasburg,  1904. 
Bibliographical  Miscellany.    Ed.  Adam  Clarke.    London,  1806. 
Bibliographie  des  oiivrages  relatifs  a  V amour,  aux  femmes,  au 

marriage  et   des  livres  facetieux.     Ed.  Jules  Gay.     4*  6d. 

.  .  .  augmentee  .  .  .  par  J.  Lemonnyer.     Paris,  1 894-1 900. 
Catalogue  of  printed  books  in  the  British  Museum  Library. 

80  vols.  1882-99.     Supplement,  9  v.,  1900-04. 
Catalogue  of  the  printed  books  in  the  Library  of  the  Faculty  of 

Advocates.     6  v.  and  sup.     i  v.     Edinb.,  1 867-1 879. 
Catalogue  of  the  printed  books  in  the  Bodleian  Library,  Oxford. 

Unpublished. 
Bliss,  Ph.,  Catalogue  of  the  first  portion  of  the  extensive,  interesting 


152 

and  valuable  library  formed  by  the  late  Rev.  P.  Bliss.     Lon- 
don, 1858. 
Collier,  J.  P.,  Bibliographical  and  Critical  Account  of  the  rarest 
books   hi   the  English   language.     2  v.     London,    1865. 
(Collin). 
Catalogue  of  Lord  Ellesmere's  Bridgewater  Library.     London, 

1837. 
Illustrations  of  Old  English  Literature.     London,  1886. 
Cushing,  Wm.,   Initials  and  Pseudonyms.     A   Dictionary  of 

Literary  Disguises.     New  York,  1885. 
Ellis  and  Elvey,  later  Ellis  and  White,  Catalogues  [booksellers' 

lists]. 
Fry,   J.,   Bibliographical   Memoranda  in  Illustration  of  Early 

English  Literature.     Bristol,  18 16. 
Halkett,  Sam.,  and  Laing,  John,  A  Dictionary  of  the  Anony- 
mous   and    Pseudonymous    Literature    of   Great   Britain. 

Edinburgh,  1882. 
Halliwell-Phillipps,    J.    O.,    Books   of   Characters,   illustrating 

the  habits  and  manners  of  Englishmen  from  the  Reign  of 

James  I  to  the  Restoration. 
Catalogue   of  Chap-books,  Garlands  and  Popular  Histories. 

London,  1849. 
Descriptive   Notices  of  popular  English  histories.      (Percy 

Society,  v.  23.)     1848. 
A  Handlist  of  the  Early  English  Literature  in  the  Malone 

Collection  from  the  Catalogue  in  the  Bodleian.     London, 

i860. 
Hazlitt,  Wm.  C,  Collections  and  Notes,  ist,  2d  and  3d  series 

and  supplements.     London,  i860,  1892. 
Huth,   H.,    Catalogue  of  the  Printed  Books,  Mss.,  Autograph 

Letters  and  Engravings  collected  by  H.  Huth.     5  vols.     Lon- 
don, 1880. 
Langbaine,  G.,  Lives  and  Characteristics  of  the  English  dramatick 

Poets   of  the   seventeenth   century.  .  .  continued   by    Ch. 

Gildon.     London,  1699. 
Lawler,  J.,  Book-Auctions  of  the  Seventeenth  Century.     London, 

1898. 
Lowndes,  Wm.,  Bibliographer's  Manual  of  English  Literature. 

New  ed.  H.  G.  Bohn.     6  vols.     London,   1864. 


153 


Quaritch,  J.,  Catalogue  of  Romances  of  chivalry  .  .  .  the 
literature  of  fiction  and  imagination  from  Homer  to  the 
jyth  Century.     1885. 

Walpole,  H. ,  Catalogue  of  the  Royal  and  Noble  A  uthors  of  England 
with  lists  of  their  works.     2  v.     New  ed.  Edinburgh,  1792. 


CHRONOLOGICAL   LIST   OF   THE    PROSE    FICTION 
FIRST   PRINTED    IN   ENGLAND    BETWEEN 
1600  AND  1740 

In  the  following  bibliography,  which  is  very  far  from  com- 
plete, I  have  deliberately  omitted  all  contributory  forms  such 
as  character-sketches,  dialogues,  periodicals,  conduct-books, 
chap-books,  etc.,  unless  they  seemed  unusually  rare  or  were 
mentioned  in  the  text,  but  have  given  some  books  of  travel. 

Directly  after  the  title,  in  parenthesis,  is  given  the  source 
of  my  information,  the  library  shelf-number, — Col  (Columbia), 
Harvard,  Advocates,  Bodleian,  or,  if  undesignated,  the  British 
Museum — the  S.  R.  (Stationer's  Register),  the  T.  C.  (Term 
Catalogues),  or  the  reference  work.  In  the  last  instance,  I 
have  simply  used  the  author's  name  or  editor's  name  as  that 
was  most  easily  identified  in  the  alphabetical  list  of  biblio- 
graphical sources.  The  only  exception  is  in  the  case  of  Dr. 
Chandler :  his  Literature  of  Roguery  I  have  indicated  by  Lit. 
oj  R.,  his  Romances  of  Roguery  by  R.  of  R. 

1600 

1.  The  Blackdog  of  Newgate.     By  Luke  Hutton.    Possibly 

published  earlier.     (Lit.  of  R.,  i.  112.) 

2.  The  Heroical  Adventures  of  the  Knight  of  the  Sea.     For 

Wm.  Leake.     (Collier,  ii.     217.) 

3.  The  Strange  Fortunes  of  Two  Excellent  Princes  [Fantimo 

and  Penillo]  in  their  lives  and  loves  to  their  equall 
Ladies  in  all  the  titles  of  Honour.  By  N.  Breton. 
(Bodleian). 

1601 

4.  The  Strangest   Adventure   that  ever  happened  .  .  .  con- 

taining a  discourse  .  .  .  of  the  King  of  Portugal,  Dom 
Sebastian.  Part  1. 
Translated  by  Anthony  Munday  from  the  Spanish  by 
Jose  Teixeira  through  the  French  of  an  anonymous 
writer.  Part  II,  1602.  Both  parts  were  relicensed 
September  27,  1602.  (Underhill,  p.  47.) 
154 


155 

l602 

5.  Greenes    Ghost    Haunting    Conie-Catchers  .  .  .  with   the 

conceits  of  Doctor  Makeshift.     By  Samuel  Rowlands. 
(C.  40.  d.  40.) 
Another  edition,  1664. 

1603 

6.  A  Mad  World  my  Masters.     By  Nicholas  Breton. 

A  punning  dialogue. 

7.  A  True  and  Admirable  Historie  of  a  Mayden  in  Confolens 

in  the  Province  of  Poictiers;  that  for  the  space  of  three 
yeares  and  more  hath  lived  and  yet  doth  without  receiv- 
ing either  meate  or  drinke.  [Translated  by  Anthony 
Munday.]     (Gay.) 

8.  A    True  and  Strange  Discourse  of  the   Travails  of  two 

English  Pilgrims.  By  Henry  Timberlake.  (G.6722.) 
This  more  or  less  authentic  account  of  a  pilgrimage  to 
Jerusalem  was  reprinted  in  slightly  modified  versions 
in  1608,  1609,  161 1,  1616,  1620  and  1683.  The  last 
edition  contained  material  added  by  the  editor, 
R.  Burton,  i.  e.,  Nathaniel  Crouch,  and  was  adver- 
tised under  the  title  of  Two  English  Pilgrims. 

1604 

9.  Grimellos  Fortunes,  with  his  Entertainment  in  his  Travels. 

By  Nicholas  Breton.     (i2330.b.24.) 
This  is  a  somewhat  picaresque  miscellany  in  dialogue 
form. 

1605 

10.  The  First  and  Second  partes  of  the  Famous  History  of 

Evoradmus,  Prince  of  Denmarke  with  his  adventures 
and  fortunes  in  love. 
Licensed   February  12,  for   Banckworth,   but   I    have 
found  no  further  record  of  the  book. 

11.  The  Life  and  Death  of  Gamaliel  Ratsey,  a  famous  Theefe 

of  England.     (Bodleian  and  Lit.  of  R.  i.  I43-) 
Reprinted  by  J.  P.  Collier  in  ///.  of  Old  Eng.  Lit. 

12.  The  Most  Famous  and  Delightful  History  of  Urano,  other- 

wise called  the  Greene  Knight  and  the  most  beautiful 


150 

Princessc  Beroshia,   Daughter    to    Lucius,    King    of 
Brittainc. 
Licensed  for  Francis  Burton,  September  9,  but  I  have 
found  no  further  mention. 

13.  The  Practises  of  Elizabeth  Caldwell.     {Lit.  of  R.,  p.  148). 

A  cheap  pamphlet  relating  her  crimes. 

14.  The  School  of  Slovenrie.     Dekker's  translation  of  Dede- 

kind's  Grobianus.  Revised  in  1609  as  the  Guls  Horne- 
booke.     (C.27.b.7.) 

15.  ^  True  Relation  of  God's  Wo7iderful  Mercies  in  preserving 

one  alive  which  hanged  five  days  who  was  falsely  accused, 

i.  e.,  John  Johnson. 
By  John  Johnson  of  Antwerp. 
A  variation  appeared  in  Edinburgh  in  1706. 

16.  Vincentio  and  Margaret. 

Licensed  in  November  for  Valentine  Syms  but  not 
mentioned  elsewhere. 

1606 

17.  The  Countess  of  Bedford's  Arcadia,  begyninge  where  the 

Countesse  of  Pembroke's  Endes. 
Licensed  January  6,  for  Edward  Aide  but  so  far  as  I 
know  not  mentioned  elsewhere. 

18.  Eliosto   Libidinoso  .  .  .   Wherein    their  imminent  danger 

is  declared,  who  guiding  the  course  of  their  life  by  the 
compasse  of  Affection,  either  dashe  their  ship  against 
most  dangerous  shelves  or  else  attaine  their  haven  with 
extreame  prejudice.     By  John  Hind. 

This  seems  to  be  the  same  as  Greene's  Card  of  Fancie, 
reprinted  in  1608,  Wherein  the  folly  of  those  Carpet 
Knights  is  deciphered  which  guiding  their  courses  by  the 
compass  of  Cupid,  either  dash  their  ship  against  more 
dangerozis  rocks  or  else  attaine  the  haven  with  pain  and 
peril  &. 

It  is  the  Debate  between  Follie  and  Love  translated  out 
of  the  French  of  Louise  Labe. 
1607 

19.  The  Pastoralls  of  Julietta  divided  into  five  parts.     Trans- 

lated from  the  French  of  Ollenix  du  Mont-Sacre 
[1592-98]  by  Gervase  Markham. 


157 

Licensed  for  Thos.  Crecde,  Nov.  ii,  1609. 

Another  rendering  by  Robert  Tofte  under  the  title  of 
Honour's  Academy  or  the  Famous  Pastoral  of  the  Fair 
Shepherdess  Julietta  appeared  in  1610. 

20.  The  Pleasant  and  Delightful  History  of  Tom  of  Lincoln, 

The  most  valiant  and  renowned  Red-Rose  Knight; 
surnamed  for  his  many  wonderful  exploits,  the  Glory 
and  Pride  of  England.  Containing  an  account  of 
his  princely  birth,  strange  education,  noble  and  valorous 
exploits  at  home  and  abroad;  his  amours  with  the  Queen 
of  Fairy;  his  marriage  with  the  Emperour  of  Ethiopia's 
Daughter  etc. 
Reprinted  in  1625,  1631,  1635,  1655  "the  ninth,"  1682 

and  so  on. 

1608 

21.  The  Belman  of  London.     By  Thos.  Dekker.     (C.44.C.20.) 

An  enlarged  version  appeared  in  1609  as  Lanthorne 
and  Candlelight  and  was  reprinted  in  161 2  with 
0  per  se  0,  and  under  the  title  of  Villanies  Discovered, 
in  1616,  and  with  additions  and  variations  as  £wg/w/i 
Villanies  in  1638,  1640  etc.,  reaching  the  ninth  edi- 
tion in  1648.     {Lit.  of  R.,  i,  106-110.) 

22.  5/.  George's  three  sons,  the  lively  sparks  of  nobility.      By 

Richard  Johnson.     (Quaritch.) 
Part  III.  appeared  in  161 6  and  a  metrical  version  in 

1622. 

1609 

23.  The  Discovery  of  a  New  World;  or  a  Description  of  the 

South  Indyes  hitherto  unk?iown.  By  an  English 
Mercurye.  (Begley.) 
This  is  a  translation  of  Mundus  Idem  et  Alter.  Sive 
terra  Australis  itineribtis  Peregrini  Academici  Lus- 
trata.  Auctore  Mercurio  Britanico,  i.  e.,  Joseph  Hall, 
of  which  Latin  editions  were  printed  in  1607  at 
Hanover  and  Frankfurt.  The  Latin  edition  was 
entered  on  the  S.R.  for  John  Porter,  June  2,  1604, 
and  on  August  4,  1608,  it  was  assigned  to  Leonard 
Greene;  but  the  translation  of  1609-10  seems  to  be 
the  earliest  edition  printed  in  England.     It  was  re- 


158 

printed  and  bound  with  the  New  Atlantis  in  1643, 
and  again  in  1680.      (Bcgley.) 

24.  The   Famous  Whore,  or  Noble  Coiirtizan,  containing  the 

lamentable  Complaint  of  Patdifia,  the  famous  Roman 
Courtizati,  sometime  mistress  unto  the  great  Cardinal 
Hippolyte  of  Este.  Translated  from  the  Italian  by 
C.  Markhiine.     [G.  Markham?]     (Gay.) 

25.  The  Man  in  the  Moon  telling  Strange   Fortunes  to  the 

English  Fortune  Teller.     By  M.  W.     (232. f.  11.) 
A  book  of  character-sketches  satirizing  vices. 

1610 

26.  Euphormionsis  Lusitiini  Satyricon.     By  John  Barclay. 

The  earHest  extant  edition  of  Pt.  I  is  that  printed  in  Paris 
in  1605,  but  in  all  probability  a  version  had  appeared 
in  London  in  1603.  Pt.  II  was  added  in  1607;  parts 
III  and  IV  were  included  in  the  editions  printed  at 
London  in  1610  and  at  Oxford  in  1614.  A  continu- 
ation by  Morisot  was  printed  in  1625. 

It  was  translated  in  1631  as  the  Mirror  for  Mindes  by 
Thos.  May  who  took  his  title  from  Pt.  II,  Icon 
Animorum. 

27.  The  Madde  Pranckes  of  Merry  Mall  of  Banckside. 

Licensed  August  7  for  Henry  Gosson. 

A  cheap  pamphlet  relating  the  popular  and  well-known 
misdeameanors  of  Longa  Margarita  which  had  already 
been  reported  in  ballads  and  broadsides.  {Lit.  of 
R.,  i.  144.) 

1612 

28.  The  Her  oik  Life  and  Deplorable  Death  of  the  most  Christian 

King,  Henry  the  fourth.  Translated  from  P.  Mathieu 
by  Ed.  Grimston  (Upham). 

29.  The  History  of  the  valorous  and  witty  Knight-errant  Don 

Quixote  of  the  Mancha.  By  M.  de  Cervantes  Saavedra 
translated  out  of  the  Spanish.     By  T.  Shelton. 

Part  II  appeared  in  1615,  and  is  generally  attributed  to 
Shelton  but  Quaritch  doubts  if  he  were  the  translator. 

New  editions  appeared  in  1652  and  1675.  The  trans- 
lation by  John  Phillips  appeared  in  1687 ;  an  abridged 


159 

version  in  12s  in  1689,  1695,  and  1721.  Stevens's 
translation  was  printed  in  1705  as  was  also  his  trans- 
lation  of    Le  Sage's  continuation. 

30.  The   Most    Famous  .  .  .  History  of  that  worthie  Knight 

Mervine.     First  composed   in  rhyme  and  after  trans- 
lated into  French  prose  whence  it  is  now  reduced.     By 
T.  M.,  Gent.     (1074.  b.  35.) 
A  late  chivalric  romance. 

1613 

31.  The  Admirable  History  of  the  Possession  and  Conversion 

of  a  penitent  seduced  by  a  magician.  Translated 
by  W.  B.     (8630.d.39.) 

32.  Looke  on  Me  London  I  am  an  Honest  Englishman.     By 

R.  J.,  i.  e.,  R.  Johnson.     (C.40.) 
A  satirical  attack  on  the  vices  and  abuses  of  London. 

33.  The  Plain  Man's  Pilgrimage  or  Journey  towards  Heaven. 

By  W.  W[ebster]. 
This  rare  little  allegory  is  cited  by  Wharey. 

34.  The  Second  and  Last  parte  of  the  first  booke  of  the  Englishe 

Arcadia.     By  Gervase  Markham.     (C.39.h.8.) 
Printed  in  all  later  editions  of  the  Arcadia. 
1615 

35.  The  Famous  History  of  the  Seaven  Champions  of  Christen- 

dom. In  Two  Parts.  By  R.  Johnson.  (i26i4.d.) 
This  clumsy  compilation  of  old  chivalric  material  has 
been  described  as  "all  the  lies  of  Christendom  in  one 
lie."  Nevertheless  it  proved  very  popular  and  was 
reprinted  in  1620?,  1630?,  1670?,  1696,  1719,  1722 
and  probably  oftener. 

36.  The  Honourable  Prentice,  or  this  Taylor  is  a  Man.     {Lit. 

ofR.i.73-) 
i.  e.  Sir  John  Hawkwood    who    figures  in    Deloney's 

Thomas  of  Reading. 
Other  editions  1616,  1668  and  1687,  the  last  two  under 

the  title  The  Honour  of  the  Merchant-Taylors,  by  Wm. 

Winstanley. 

1616 

37.  The  Table  of  Cebes,  the  Theban.     Translated  by  John  Jlealy. 

(Wharey.) 


160 

I6i7 

38.  Compters  Commonwealth.     By  William  Fennor.     (1077, 

i.6.) 
Reissued  in  161 9  as  The  Miseries  of  a  Jaile,  in  1629, 
as  A  True  Description  of  the  Lawes,  Justice,  and  Equity 
of  a  Compter,  and  in  1638,  as  the  Discovery  of  a  London 
Monster.     {Lit.  of  R.,  1.  140.) 

1618 

39.  The  Roman  Histories  of  L.  J.   Florus.     Translated  by 

E.  M.  Bolton.     (803,  b.io.) 
Reprinted    in    1636   and  translated    by  J.  Davies  in 
1669.     (1306.0) 

40.  The  Spanish  Mandeville  of  Myracles,  or   the  Garden  of 

Curious    Flowers  .  ,  .  first    written    in    Spanish    by 
Anthonio  de  Torguemeda. 
An  entertaining  volume  of   wonderful  and  marvellous 
stories,  some  of  which  are  drawn  from  the  lands  of 
the  New  World.     (Quaritch,  iv.  709.) 

41.  True    and    Wonderful    History    of   Perkin  Warbeck    by 

Thomas  Gainford.     {Lit.  of  R.,  i.  154.) 

1619 

42.  The  Pleasant  Historie  of  John  of  Winchomb.     By  Thomas 

Deloney. 
This  is  the  earliest  edition  extant.     It  was  reprinted 
in  1626,  1630,  1633,  1637  and  later. 

43.  The   Travels  of  Persiles  and  Sigismunda.     A   Northern 

History,  wherein  amongst  the  variable  Fortunes  of  the 
Prince  of  Thule,  and  the  Princess  of  Frisland,  are  inter- 
laced many  Witty  Discourses,  Morall,  Politicall,  and 
Delightful.  The  first  copie  being  written  in  Spanish; 
translated  afterward  into  French;  and  now,  last  into 
English.  (1074. h. 28.) 
Reprinted  in  1639. 

1620 

44.  The  Decameron,  containing  an  Hundred  pleasant  Novels 

Wittily  discoursed  betweene  seaven  Honourable  Ladies 
and  Three  Noble  Gentlemen.     Translated  into  English 


161 

from  the  Italian  of  Giovanni  Boccaccio.  2  v.  folio. 
(86.k.2.) 
It  was  reprinted  in  1625  under  the  title,  The  Model  of 
Wit,  Eloquence,  and  Conversation  framed  in  ten  days,  of 
an  hmidred  curious  pieces  by  seaven  ladies  and  three 
gentlemen;  in  1657,  as  Boccaccio's  Tales  or  the  Quin- 
tessence of  Wit;  and  under  slightly  varying  titles  in 
1702,  1722,  and  1741. 

45.  The  Famous  History  of  Tom  Thumb.    By  Richard  Johnson. 

A  prose  version  of  the  old  songs.     (Lit.  of  R.,  1.  65.) 

46.  The  History  of  Astrea  :  the  first  part  in  twelve  books, 

newly  translated  out  of  the  French. 

Fry»  P-  365,  says  that  only  a  portion  of  the  original 
was  translated,  books  10,  11  and  12  being  compressed 
into  one. 

There  was  another  translation  in  1657. 

On  October  17,  161 1,  VAstree  de  Messire  Honore  Durfee 
was  licensed  for  Lowndes  "to  be  printed  in  English 
when  it  is  further  authorized  and  allowed,"  but 
it  does  not  seem  to  have  been  published. 

47.  The  History  of  Friar  Rush. 

A  prose  refacimento  of  old  songs  and  legends.  (Lit.  of 
R;  i.  56.) 

48.  The  Way  to  the  Celestial  Paradise.     By  Robert  Whittell. 

(4403-g-) 
A  religious  tract  with  little  or  no  narrative  interest. 

49.  Westward  for  Smelts.     By  Kit  of  Kingston. 

A  collection  of  short  tales  which  had  long  been  current. 

Stevens  cites  an  edition  of  1603,  but  the  earliest  extant 
is  the  one  of  1620  mentioned  by  Collier,  and  edited 
in  1848,  by  Halliwell-PhilHpps  for  the  Percy  Society. 

1621 

50.  The  Countess  of  Montgomery  s  Urania.     By  Lady  Mary 

Wroth.     (Sommer.) 

51.  The  Reformed  Spaniard.     By  De  Nicholas  and  John  Sach- 

arles.     Translated  from  the  Latin.     (Upham.) 
A  French  version  was  entered  in  1622.     (Upham.) 

52.  The  Triumphs  of  God's  Revenge  against  the  crying  and 

12 


162 

execrable  Si7i  of  (Willful  and  Premeditated)  Murder. 
By  John  Reynolds.  (12403. aaa. 29.) 
The  whole  in  six  parts,  comprising  the  thirty  tragical 
stories,  was  issued  in  1635  and  reprinted  in  1639, 
1640,  1657,  1662  and,  with  the  addition  of  God's 
Revenge  against  Adultery,  in  1670,  1679,  1708  and 
1770. 

1622 

53.  The  Pilgrim  of  Casteel  or  the  Fortunes  of  Lamphilus  and 

Nisa. 
To  be  licensed  for  John  Norton  "if  more  authority  be 
granted,"  but  apparently  it  was  not  printed. 

54.  Portraicture  of  the  Nine  Worthies  of  the  World,  i.  e.,  Maho- 

met, Soliman,  Tamberlaine,  Charles  V.,  Scanderbeg, 
Henry  IV.  of  France,  Henry  V,  the  Black  Prince, 
and  Sir  Philip  Sidney. 
Licensed  for  Holland,  March  30. 

55.  The  Pursuit  of  the  Historie  of  Lazarillo  de  Tormes.     By 

Jean  de  Luna. 
Reprinted  independently  in  163 1  and  1655,  and  with  the 
first  part  in  1624,  1639,  1653  and  in  Blackston's  ver- 
sion in  1669-70. 

56.  The    Rogue:    or,  the    Life    of    Gusman    de    Alfarache. 

Translated  from  the  Spanish  of  Aleman  [Madrid 
i599~i6o5]  by  James  Mabbe.  (Bodleian.) 
Reprinted  in  1633  with  Mabbe's  version  of  the  Tragi- 
comedy of  Calisto  and  Melibea.  It  was  epitomized 
by  "A,  S.,  Gent."  in  1655,  and  reissued  in  1700;  a 
translation  of  the  French  version  appeared  in  1708. 

1623 

57.  The  Life  and  Death  of  Griffin  Flood.     {Lit.  of  R.,  1.  146.) 

1625 

58.  Barclay  his  Argenis:  or  the  Loves  of  Poliarchus  and  Ar- 

genis.     By  John  Barclay  [Paris  162 1].      Translated 
by  Kingesmill  Long. 
It  was  entered  on  the  registers  for  the  "Partenors  in 
the  Latten  stocke"  as  early  as  June  29,  1622,  and 


163 

a  translation  by  B.  Jonson  was  licensed  for  Blount, 
October  2,  1623,  but  Long's  version  seems  to  be  the 
first  edition  printed  in  England.  In  1625,  Seile 
reprinted  Long's  translation  with  the  verses  by  May. 
In  1626-7,  Jan.  18,  Islip  petitioned  for  "further 
authorization"  but  probably  his  request  was  not 
granted,  for  we  next  hear  of  the  Argents  as  being 
translated  by  Robert  de  Guys  and  printed  by  Meig- 
hen.  In  1635,  Seile  issued  a  "discourse  or  key," 
and  printed  it  with  Long's  version  the  next 
year.  In  1639,  he  got  out  an  epitome.  In  1669 
Bugnot's  continuation  appeared.  The  Argenis  was 
advertised  in  the  T.  C.  for  Hillary  Term  1674,  and 
in  the  next  century,  1734,  a  new  translation  was  made 
by  Mr.  John  Jacob,  and  printed  in  Dublin.  For 
further  information  about  this  last  translation  see 
an  article  by  Ed.  Bensly  in  Mod.  Lang.  Review, 
April,  1909,  iv,  p.  392. 

1626 

59.  Almanzor,  the  learned  and  victorious  King  that  Conquered 

Spayne. 
Licensed  November  4,  Robert  Asley  for  Stansbye. 

60.  The  Isle  of  Man,  or  Legal  Proceedings  in  Manshire.     By 

Richard  Bernard.     (ioi8.bb.9.) 
Other  editions  in  1640,  1648,  1676,  the  fifteenth;  1683, 
the  sixteenth. 

1627 

61.  The  New  Atlantis.     A  worke  unfinished,  written  by  the 

Rt.  Ho?i.  Francis  [Baco7i]  Lord  Verulam,  Viscount  St. 
Albans.  With  Silva  Sylvarum  (Quaritch). 
Reprinted  eleven  times  by  1676;  in  1660,  with  a  contin- 
uation by  R.  H.,  Esq.;  in  1670,  as  "the  ninth  edition, 
with  the  author's  life  newly  added";  in  1676,  with  a 
continuation  by  Joseph  Glanvill.  In  1636  it  was 
translated  into  French. 

62.  A  Sixth  Booke  to  the  Countesse  of  Pembroke's  Arcadia.  .  .  . 

Written  by  R[ichard]  B[eling].     (12403. g.13.) 

63.  The  Famous  Historic  of  Fryer  Bacon  6*.     (1077,  e.58.) 


164 

A  mss.  note  says  that  this  is  the  oldest  extant  edition 

of  this  popular  old  tale. 
Reprinted  in  1630?,  1661,  1666,  1715?,  1750?,  1766,  etc. 

1628 

64.  The  True  History  of  the  Tragicke  Loves  of  Ilippolito  and 

Isabella,  Neapolitans.  Englished.  Preceded  by  a 
poem  addressed  to  the  'Whim'  signed  G.  C. 
(I26i3.a.) 

Second  edition  1633. 

This  is  presumably  translated  from  the  Histoire  des 
tragigues  amours  d'Hippolyte  et  d'Isabelle,  Napolitains, 
Nyort,  1597;  reprinted  as  Les  Etranges  Aventures 
d'Hyppolyte  et  d'Isabelle,  Paris,  1630.  Reynier  as- 
cribes the  work  to  Pierre  Mathieu. 

Langbaine  gives  this  novel  as  the  source  of  Middle- 
ton's  Women  beware  Women. 

1631 

65.  The  Mirrour  for  Mindes.     Translated  by  Thomas  May 

from  the  Icon  Animorum  of  John  Barclay  which  ap- 
peared in  1614.     (526.g.) 
Cf.  no.  26,  1610. 

1632 

66.  Eromena;    or    Love    and    Revenge  .  .  .  Now    faithfully 

Englished  .  .  .  from  the  Italian  [of  Biondi  which 
appeared  in  1624]  by  J.  H.^  (12470.1^.9). 

67.  Gerardo,  The  Unfortunate  Spaniard:  or  a  pattern  of  las- 

civious lovers;  containing  strange  m,iseries  of  loose 
affections.  Made  English  by  L[eonard]  D[igges] 
[From  the  Spanish  of  Cespedes  y  Meneses]  (E.i234.b). 
It  was  licensed  for  Blount  as  early  as  March  11,  1622, 
was  reprinted  in  1653,  and  consists  of  a  succession 
of  unhappy  love  stories  related  in  ornate  grandiose 
style. 

1  According  to  Howell,  "J-  H.,"  is  J.  Howard,  for  in  a  letter  addressed  to  him 
and  dated  Oct.  6,  1632,  he  commends  his  translation  of  Eromena  and  encloses 
some  verses  {Familiar  Letters,  ed.  J.  Jacobs,  London,  1892,  i,  329.);  but  Fry, 
p.  21,  and  the  B.  M.  catalogue  agree  that  it  was  Jasper  Heywood.  According 
to  T.  Cooper,  D.N.B.,  the  latter  died  in  1598.  Fry  describes  the  work  as  a 
folio  but  the  B.  M.  copy  is  a  quarto. 


1G5 

68.  The  History  of  George  a  Greene.     By  Richard  Johnson. 

A  prose  version  of  the  old  ballads.     (Thorns.) 

69.  The  History  of  St.   Elizabeth,   daughter  of  the  King   of 

Hungary.     By  H.  A.  (Ellis  and  White,  no.  47.) 

70.  Hollandes  Leaguer  or  an  Historical  Discussion  of  the  Life 

and  Actions   of  Donna   Brittanica   Hollandiza.     By 

Nicholas  Goodman. 
This  picaresque  novel  is  founded  on  fact. 
It  furnished  Shakerley  Marmion  with  the  material  for 

a  play  of  the  same  name. 

71.  Unhappie  Prosperity  expressed  in  the  Histories  of  Elius 

Seianus  and  Phillippa  the   Calanian.      Written    in 
French  by   Pierre   Mathieu  and   translated   by  Sir 
Thomas  Hawkins.     (10605.cc.) 
A  second  edition  was  issued  in  1639. 

1633 
^2.  Pantaleonis  Vaticinia,Satyra.     By  Jacob  Hume.     Ratho- 
magii  (Begley). 

1634 

73.  Certain  Select  Dialogues  of  Lucian  together  with  his  true 

History.  Translated  from  the  Greeke  .  .  .  by  Mr. 
F.  Hickes.  Oxford.  (1067. k.17.) 
In  1637,  Thos.  Heywood  translated  Pleasant  Dialogues 
and  Dramas  out  of  Lucian,  in  1664,  Sir  Jasper  Mayne 
translated  the  Dialogues  and  Somnium;  in  1684,  a 
rhymed  version  of  the  latter  appeared;  in  171 1,  The 
Works  of  Lucian  were  translated  by  "T.  Brown  and 
several  Hands";  and  in  1727,  W.  Moyle  published 
Translations  from  Lucian. 

1634 

74.  Eryci  Puteani  Comus  sive  Phagesiposia  Cimmeria.     Som- 

nium.    Oxford.     (Begley) 

Previously  printed  at  Louvain  in  1609  and  161 1. 

It  was  translated  into  French  in  1613  as  Comus,  ou 
Batiquet  dissolu  des  Cimmeriens.  Songe.  This 
French  translation  may  be  the  original  of  the  Cim- 
merian Matron  of  1668. 


166 

75-  A  Saxon  Historie  of  the  Admirable  Adventures  of 
Clodaldus  and  his  Three  Children.  Translated  out 
of  the  French  of  C.  N.  by  Sir  Thomas  Hawkins. 
(Huth.) 

76.  The  Troubled- spirited  Mans  Departing;  or  a  Wonderful 

Relation  of  the  wilfull  murder  committed  by  Thomas 
Mince  .  .  .  upon  his  own  person  with  the  true  copy  of 
a  letter  written  by  his  hand.     4.  (E.  690.(2).) 
A  news-sheet. 

1635. 

77.  Amanda,  or  the  Reformed  Whore.     By  Thomas  Cranley. 

This  verse  and  prose  narrative  was  reprinted  in  1639  as 
The  Converted  Courtezan;  or  the  Reformed  Whore. 
Being  a  true  relation  of  a  penitent.  .  .  .  under  the 
name  of  Amanda.     (c.30.e.33.) 

78.  The  Arcadian  Princess;  or  the  Triumph  of  Justice  .  .  . 

from  the  Italian  by  R.  Brathwaite. 
A  verse  and  prose  narrative. 

79.  Donzella  Desterrada,   or  the  Banished    Virgin.     Written 

originally  in  Italian  by  Cavalier  Geo.  Francesco 
Biondi  .  .  .  divided  into  three  books  and  Englished 
by  J.  H.  of  Graies  Inn,  Gent.^     (i2470.k.io.) 

80.  The  History  of  Blanchedyne. 

Sold  to  George  Blackwell,  Nov.  4,  but  not  mentioned 
elsewhere. 

81.  The  History  of  the  Serrail  and  of  the  Court  of  the  Grand 

Seigneur,  Emperor  of  the  Turkes.  Translated  from 
the  French  of  M.  Boudier.     [Paris,  1624.]     (Upham) 

82.  A  Tragi-comical  History  of  Our  Times  tinder  the  Borrowed 

Names  of  Lisander  and  Calista.  Translated  from 
the  French  of  G.  de  Costa  [Paris,  1615]  by  W.  D. 
(Col.) 
Although  licensed  for  Latham  as  early  as  August  25, 
1626,  this  seems  to  be  the  first  edition.  It  was  re- 
printed in  1652.  An  incomplete  version  by  W[illiam] 
B[arwich]  under  the  title  of  Love  and  Valour  etc. 
appeared  in  1638. 
iSee  note  i,  p.  164. 


167 

1636 

83.  Ariana.     In   two   parts.     As   it   was   translated   out   of 

the     French     of     J.    Desmarets    de     Saint     Sorlin. 
(i34-n.2.) 
Reprinted  in  1641. 

1637 

84.  Clidamiis  or  Sicilian  Tale. 

Licensed  February  25  for  Thos.  Payne  but  I  have  found 
no  further  record. 

85.  Endimion  de  Gombauld.     Translated  out  of  the  French 

[Paris,  1624]  by  Richard  Hurst.     (Upham.) 
A  second  edition  appeared  in  1639. 

86.  Icaria.     By  John  Bissel  1638.     (i052.a.i.) 

87.  Four  True  Tragi-Comical  Histories  of  our  Late  Times  by 

the  names  of  The  Lady  Cornelia,  The  Force  of  Blood, 
The  Two  Damsels,  and  The  Spanish  Lady.     By  Don 
Diego  Puedeser.     Translated   from   the   Spanish   of 
Cervantes  [1613]  by  James  Mabbe. 
Other  editions  are  as  follows: 

1640,  The  Exemplarie  Novels;  in  sixe  books  .  .  .  full 
of  various  accidents  both  delightful  and  profitable  &. 
Turned  into  English  by  Don  Puedeser,  i.  e.,  James 
Mabbe.  1654,  the  above  reprinted  as  Delight  in 
Several  Shapes.  1694,  Select  Novels,  The  first  six  by 
Miguel  de  Cervantes  .  .  .  the  other  by  Francis  Pe- 
trarch tr.  by  Wm.  Pope,  ijog.  El  Zeloso  Estremeno; 
the  jealous  Estramaduran,  a  Novel;  with  the  Fair  Maid 
of  the  Inn;  the  History  of  the  Captive;  the  Curious  Im- 
pertinent; the  Prevalence  of  Blood;  the  Liberal  Lover; 
and  the  Rival  Ladies.  1728,  A  Collection  of  Select 
Novels,  ivritten  originally  in  Castillian  .  .  .  made 
English  by  Harry  Bridges.  Bristol.  1729,  A  Select 
Collection  of  Novels  and  Histories.  Ed.  Samuel 
Croxall. 

88.  Histoire  de  Larrons  or  the  History  of  Theeves  written  in 

French  [in  1636]  and  translated  out  of  the  original  by 
P.  G.  (Upham  and  B.  de  A.) 


168 

89.  The  Lives  a7id  Singular  Vertices  of  Saint  Elzear,  Count  of 

Sabran  and  his  Wife.     Translated  from  the  French  of 
Etienne  Binet,  by  Sir  Thomas  Hawkins.    (10604. cc.) 

1638 

90.  The  Comical  History  of  the  States  and  Empires  of  the 

Worlds  of  the  Moon  and  the  Sun.     Translated  from 
the    French    of    Cyrano    de  Bergerac  [Paris,   1638] 
by  A.  Lovell.     (Upham.) 
Another  edition,  (the  earliest  recorded  in  B.  M.  cata- 
logue) appeared  in  1687. 

91.  The  Man  in  the  Moone;  or  a  Discourse  of  a  Voyage  Thither 

by  Domingo   Consoles,   the   speedy   messenger,   i.   e., 
Francis  Godwin. 
Reprinted  with  Nuncius  Inanimatus  and  as  "By  F,  G., 
B.  of  H."  in  1657.     French  translations  were  printed 
in  1648  and  1671  and  German  in  1659  and  1660. 

92.  The  Sonne  of  the  Rogue  or  the  Politick  Theefe.     With  the 

Antiquities  of  Theeves.  First  Written  in  Spanish  by 
Don  Garcia,  Afterwards  translated  into  Dutch  and  then 
into  French  by  S.  D'Audiguier.  Now  Englished  by 
W.  M.  (12330. a. 31.) 
In  1650,  a  duplicate  was  printed  with  the  title  Lavernae, 
or  the  Spanish  Gypsy:  the  whole  art,  mystery,  antiquity, 
company,  noblenesse,  and  excellency  of  theeves  and 
theeving;  and  in  1659,  it  was  reprinted  as  A  Scourge 
for  a  Den  of  Thieves. 

93.  The   Unfortunate  Politique.     From  the  French  of  C.   N. 

By  G[eorge]  P[icot],  Oxford.     (Upham.) 

1639 

94.  A  Boulster  Lecture  .  .  .  the  History  of  Philocles  and  Do- 

riclea.     By  Philogines  Pandinius. 
Licensed  November  25,  for  Bishop. 

95.  The  Court  Secret,  a  Novel.     A  political  satire  by  P.  B., 

i.  e.,  Peter  Belon, 
This  may  be  the  same  as  The  Court  Secret,  a  melancholy 
Truth  Translated,  advertised  in  1741. 

96.  An  Epitome  of  all  the  Lives  of  the  Kings  of  France.  .  .  . 


169 

Translated  out  of  the  French  Copy  by  R.  B.  Esq.  [R. 
Brathwaite].     (G.  140.  22.) 

97.  Exemplary  Lives  and   Memorable  Acts  of  Nine  Worthy 

Women,  three  Jews,  three  Gentiles,  and  three  Christians. 
By  T[homas]  H[eywood]. 
Licensed  Sept.  23,  for  R.  Roiston. 

98.  The  History  of  Anaxander  and  Orazia.     Translated  by 

William    Duncomb   from   Boisrobert's   Histoire   In- 

dienne,  Paris,  1629. 
Licensed  March  3. 
There    was    another    edition    by   "W.   G."    in    1657. 

(Upham.) 

99.  The  Isle  of  Pines,  or  a  late  Discovery  of  a  fourth  island 

near  Terra  Australis  Incognita,  by  Henry  Cornelius 
von  Sloetten,  i.  e.,  Henry  Neville. 
The  island  is  supposed  to  be  inhabited  by  the  descen- 
dants of  an  Englishman  named  George  Pines, 
amounting  in  the  fourth  generation  to  about  ten 
thousand  persons.     Dull  and  coarse.     (Quaritch.) 

1640 

100.  Hell  Reformed  or  the  Seventh  Vision  of   Don  Ffrancisco 
Quevedo,   with  Lucifer's   decree  in   the   behalf  of   the 
Lady  Prosperity. 
Licensed  Feb.  7,  for  Symon  Burton, 

loi.  The  Love  and  Arms  of  the  Greek  Princes,  or  The  Romant 
of  Romant s.  Written  in  French  by  Monsieur  Verdier 
[1626]  and  translated  for  Philip,  Earle  of  Pembroke 
and  Montgomery,  Lord  Chamberlaine  to  his  Majesty. 
By  Saulnier.     3  tom.  folio.     (837.1.27.) 

102.  The  Spanish  Gallant  of  Dantisso  translated  by   William 

Styles. 
Licensed  May  2,  for  Lee. 

103.  The    Tragi-comical   History  of  Alexander  aiid   Angelica, 

containing  the  Progress  of  a  zealous  and  masculine 
Love.     (1076. b. 9.) 
A  novel  of  the  narrative-comedy  type  and  almost  cer- 
tainly a   translation;  possibly  of   R.    Montagathe's 
Angelique,  Paris,  1626. 


170 

104-  A  True  and  Strange  Relation  of  seven  years  slavery  under 
the  Turkes  of  Alger es,  suffered  by  an  English  captive 
Merchant. 

Licensed  March  i6  for  Sparkes. 

There  were  many  pamphlets  on  this  subject. 

105.  The  Two  Lancashire  Lovers:  or  the  Excellent  History  of 

Philocles  and  Doriclea.  Expressing  the  faithful  con- 
stancy and  7nutual  fidelity  of  two  loyal  lovers.  By 
Musaeus  Palatinus  Pereo. 
Printed  by  Edward  Griffin  for  R.  B.  [Brathwaite?] 
The  only  mention  of  this  work  occurs  in  the  Huth 
Catalogue  where  it  is  described  as  a  prose  and  verse 
narrative.  Is  it  the  same  as  The  Boulster  Lecture, 
1639?     See  no.  94. 

1641 

106.  The  Academy  of  Love  Describing  ye  Folly  of  Young  Men 

and  the   Fallacy  of  Women.     By  J.   Johnson.     (G. 
10447.) 

107.  The  Kingdom  of  Macaria.     By  Samuel  Hartlib. 

Reprinted  in  the  Harleian  Miscellany,  iv.  380. 
Macaria  is  the  name  of  the   Utopian  island  in  Com- 

mentariolus  de  Eudaemonensiiim  Republica  by  Gaspar 

Stiblin  [Basle,  1553].     (Begley.) 

108.  The  Life  of  Merlin  siirnamed  Ambrosius  etc.  (2473,13,) 

A  compilation  of  the  history  of  England.     (Quaritch.) 

109.  The  Memorials  of  Margaret  de   Valois.     Translated  by 

Robert  Codrington  from  the  Memoires  de  la  Reyne 
Marguerite  [Paris,  1628].     (io66i.b.) 
Reprinted  in  1658,  1666. 

1642 
no.  The  Just  Reward  of  Rebels;  or  the  Life  and  Death  of  Jack 
Straw  and  Wat  Tyler. 
Reissued  in  1654  as  The  Idol  of  the  dowries  or  the  in- 
surrection   of    Wat    the    Tyler    [by    J.    Cleveland]. 


(i325-a.) 

jthway 
;i.(i).) 


1643 
III.  The  Pathway  to  Peace  with   Truth  and  Holiness.     (E. 


171 

Reprinted  in  1720  as  A  Plain  Pathway  to  Heaven  &. 
A  homily  with  very  slight  narrative  interest. 

1644 

112.  Dodona's  Grove  or  the  Vocall  Forest.     By  James  Howell. 

Part  I  in  1644.     Part  II,  1645. 
A  second   edition  was  printed    1649-50   for   Mosely. 
(Col.  823.h.83  PI.) 

1645 

113.  ^  Strange  and  Wonderful  Example  of  God's   Judgment 

shewed  upon  J.  Brathwaite  of  Shoreditch.     (E.  305. 

(II.)) 
A  news-sheet. 

1646 

1 14.  The  Life  and  Death  of  the  illustrious  Robert,  Earl  of  Essex. 

By  R.  Codrington.     (E.  1468(2.)) 
Reprinted  in  1744. 
I  do  not  know  how  large  a  part  fiction  plays  in  this 

biography. 

1647 

115.  Aurora  and  the  Prince  by  Don  J.  P.  de  Montalvan  [Novela 

I  of   Successos  y  Prodigios  de  Amor]  and  Oronta,  the 
Cyprian   Virgin  [a  poem]    by  Sign.  Girolamo  Preti. 
Translated  by  T[homas  S[tanley].     (E.  1146(1).) 
Reprinted  with  modifications  in  1650. 

116.  'EpoTorraiyutov;    or  the    Cyprian    Academy.     By    Robert 

Baron,  Gent.     (643.b.i9.) 
A  romance  in  prose  and  verse  interspersed  with  masques 
and  songs. 

117.  The  Divell  a  Married  Man  &.     Translated  from  Machia- 

velli's  Belphegor. 
Also  contained  in  Select  Collection  of  Novels,  1722. 

118.  The  History  of  Polexandre,  in  five  books.     Translated 

from   the   French  of  Gomberville   [Paris,    1632]   by 
William  Browne. 

1648 

119.  The  Late  Storie   of  Mr.    William   Lilly   [concerning   his 


172 

transactions    with    the    Lady    Arabella    Scroope]    (E. 

425.(3).) 
A  political  pamphlet, 

120.  Nova  Solymae  Libri  Sex.     (C.62.a.7.) 

Translated  and  printed  by  Walter  Begley,  London,  1902. 

1649 

121.  The  Confession  of  R.  B.  [Richard  Brandon]  the  hangman 

{upon  his  death  bed)  concerning  his  beheading  his  late 
Majesty  Charles  the  ist.     (669. {.14(51).) 
A  reprint  and  two  variations  appeared  the  same  year. 

122.  The  History  of  the  most  illustrious  lady  Queen  Margaret 

daughter  to  Henry  II.     Translated  by  R.  Codrington 
from  the  French.     (Upham.) 

123.  Plantagenef  s  Tragicall  Story;  or  the  death  of  king  Ed-ward 

the  fourth.     By  T.  Weaver,  Gent.     (Halliwell.) 
This  may  be  verse. 

1650 

124.  A   Continuation  of  Sir  Philip  Sidney's  Arcadia  wherein 

is  handled  the  Loves  of  Amphialus  and  Helena,  Queen 
of  Corinth;  Prince  Plangus  and  Erona;  with  the  His- 
tory of  the  Loves  of  old  Claius  and  Strephon  to  Urania. 
Written  by  a  Young  Gentlewoman,  Mrs.  A[nna] 
W[eames].  (Sommer.) 
A  "second  edition"  was  advertised  in  the  T.  C.  for 
May,  1690,  by  Nathaniel  Crouch. 

125.  The  Flower  of  Fidelitie.     By  John   Reynolds.     (E.1236. 

(I).) 
The  fourth  edition  was  advertised  in  the  T.  C.  for  May, 
1692,  as  The  Garden  of  Love  and  Royal  Flowers  of 
Fidelity. 

126.  History  of  the  most  Renowned  Queen  Elizabeth  and  her 

Great  Favorite  the  Earl  of  Essex.  A  Romance. 
Translated  from  the  French  of  Devereux.  (i26i3.d.) 
It  was  reprinted  in  1680,  as  The  Secret  History  of  Queen 
Elizabeth  and  the  Earl  of  Essex.  Another  edition 
appeared  in  1690  and  it  was  advertised  in  the  T.  C. 
for  May,  1703. 

127.  The  Loving  Enemy.     Translated  by  Major  Wright  from 

the  French  of  John  Peter  Camus.     (Upham.) 


173 


1652 

128.  Choice  Novels  and  Amorous  .  .  .  Tales;  written  by  the 

most    refined    Wits    of   Italy;    newly    translated    into 
English.     (Bodleian.) 

129.  The  English  Gusman,  or  the  History  of  that   Unparalled 

Thief  James  Hind.     By  George  Fidge.     (E.651.20.) 
Reprinted  in  1692  as  The  Notorious  Impostor. 

130.  The  Fables  of  Aesop  paraphrased  in  verse,  and  adoriied 

with  sculptures.  By  John  Ogilby. 
In  1666  R.  Codrington  published  a  translation,  in  1698 
there  was  a  Latin  edition  by  Anthony  Alsop  and  in 
1703,  two  other  translations,  Aesop's  Fables  with  his 
Life,  in  English,  French,  and  Latin,  the  English 
translation  is  in  verse  by  Mrs.  Behn  (Quaritch), 
and  Aesop's  Fables,  in  English  and  Latin,  inter- 
lineary.     L'Estrange's  ^e^op  appeared  in  1692. 

131.  The    Famed   Romance    of    Cassandra    [Cassander]  .  .  . 

elegantly  rendered  into  English  by  "vl  Person  of 
Honour:'  Books  I  to  III.  (86.L.1.) 
In  1 66 1  the  entire  work  was  translated  by  Sir  Charles 
Cotterell,  in  1676  there  was  a  second  edition,  and 
in  1725  a  third,  while  in  1703  appeared  the  trans- 
lation "by  several  hands,"  from  the. French  of  G. 
de  Costes,  Seigneur  de  la  Calprenede,  [Paris  c.  1642.] 
(i25i2.ee.7.) 

132.  The   Fifth  Book   of  Amadis  de  Gaule.     Translated    by 

Francis  Kirkman. 
The  first  book  was  translated  by  Munday  in   1598. 
The  sixth  book  was  added  by  J.  Johnson  in  1664.     All 

were  often  reprinted.     See  List  of  Reprints. 

133.  The    Gallery    of   Heroic    Women.      Translated    by    the 

Marquis  of  Winchester  from  the   French  of  John 
Pourlett. 
Mentioned  by  Howell,  Letter  v,  Bk.  iv,  and  also  by 
Walpole  in  the  Cat.  of  Royal  and  Noble  Authors. 

134.  The  Heroe  of  Lorenzo  [i.  e.  Baltasar  Gracian]  or  the  Way 

to  Eminence  and  Perfection.     Translated    by   Sir   J. 
Skeffington    from    the  Spanish.     (8406. a. 27.) 


174 

135-  UimVs  Elder  Brother;  or   the  Master  Theefe  Discovered, 
i.  e.,  Thomas  Knowles.     (£.652.(9).) 

136.  Hymen's   Praeludia;    or  Love's   Masterpiece;    being   the 

first  part  of  that  so  much  admired  romance,  intituled 
Cleopdtre,  [by  G.  de  Costes,  seigneur  de  la  Cal- 
prenede,  Paris,  1647-58]  now  rendered  into  English 
by  R.  Loveday.  Whereunto  is  annexed  a  succinct 
abridgement  of  what  is  extant  in  the  succeeding  story; 
by  the  same  hand.  (E.  1327.) 
In  1654,  part  2;  in  1655,  part  3;  in  1658,  part  7,  by  J. 
Coles;  in  1658,  part  8,  by  J.  Webb;  in  1665-63-59, 
the  collected  parts  together  with  parts  9-10,  12  by 
J.  Davies.  In  1674,  the  whole  appeared  in  Loveday's 
name  and  in  1687  was  advertised  for  R.  Loveday. 

137.  Ibrahim,  or  the  Illustrious  Bassa,  an  excellent  new  romance 

.  .  .  Written  in  French  by  Monsieur  deScudery  [Paris, 
1641-52]    in  four  parts.     Englished    by    H.    Cogan. 

(837-I.I5) 
In  1674,  there  was  another  edition. 

138.  Knights  of  the  Blade.     A  notable  and  pleasant  history  of 

the  famous  renowned  Knights  of  the  Blade,  commonly 
called   Hectors   or   St.    Nicholas    Clerkes.     (Malone.) 

139.  The  Loves  and  Adventures  of  Clerio  and  Logia.     Trans- 

lated into  English  by  F[rancis]  K[irkman]  from  the 
French  [Amours  de  Lozie  by  A.  du  Perier  Paris  1599]. 
(E.i289.(2).) 

140.  Nature's  Paradox:  or  the  Innocent  Impostor.     A  pleasant 

Polonian  History,  originally  intituled  Iphigenes. 
Compiled  from  the  FrenchTongue  [i.e.,  from  the  work  of 
F.  P.  Camus]  by  Major  Wright.     (C0I.843.C.  I53-T.5.) 

141.  The  Troublesome  and  Hard  Adventures  in  Love.     Trans- 

lated [from  Cervantes]  into  English  by  R.  C{odrington) , 
Gent.     (E.647(i).) 

142.  We  have  brought  our  hogs  to  a  fair  market;  or  strange  newes 

from  New-gate;  being  a  novel,  pleasant  aiid  historical 
narrative  of  J.  H.  [John  Hind].     4.  (£.793.(10).) 
Revised   Jan.   26   as   ''A    Pill   to   Purge   Melancholy" 
and  again  in  1653  as  No  Jest  like  a  true  Jest,  and 
as  Wit  for  money.     (£.652.(2).) 


175 

1653 

143-  Artambnes,  or  the  Grand  Cyrus,  an  Excellent  New 
Romance.  Written  by  Monsieur  Scuderi  [Paris, 
1649-53]  .  .  .  Translated  by  F.  G.  (86.k.i5.) 
It  was  advertised  by  Mosely  in  the  T.  C.  for  May,  1691 , 
as  was  also  Philoxixes  and  Policiite  translated  from 
Cyrus  by  an  Hotioiirable  Personage. 

144.  Gloria  and  Narcissus.     A  Delightf till  and  New  Romance, 

Imbellished  with  divers  Politicall  Notions,  and  Singu- 
lar Remarks  of  Moderne  Transactions.  Written  by  an 
Honourable  Person.  Pt.  II.  appeared  in  1654,  Pt, 
III.  in  1655  and  a  new  ed.  under  the  title  The 
Princess  Gloria  in  1661.     823(62). 

145.  The  Works  of  Rabelais.     Bks.  i  and  2.     Translated  by 

Thos.  Urquhart. 

1654 

146.  Dianea:    an  Excellent  New  Romance.     Translated  from 

the  Italian  of  G.  T.  Loredano  the  younger  by  Sir 
Aston  Cokaine.     (i2477.bb.8.) 

147.  Eliana.     By  Samuel  Pordage.     (Dunlop.) 

148.  The  Extravagant  Shepherd,  or  the  History  of  the  Shepherd 

Lysis.  Translated  by  J.  Davies  from  the  French  of 
Charles  Sorel. 

149.  Heptameron,  or  the  History  of  the  Fortunate  Lovers,  now 

made  English  by  R.  Godrington.     (£.1468.(2).) 
As  early  as  1597  there  was  a  translation  of  this  work  of 
Margaret  of  Navarre. 

150.  Nissena,    an   Excellent  New  Romance;  written  originally 

by  an  Italian  Garmeni  and  now  Englished  by  an 
Honourable  Anti-Socordist.     [£.1234(2).] 

151.  Parthenissa,  the  famed  Romance,  by  Roger  Boyle,  Earl 

of  Orrery.     The  first  four  parts. 
Another  edition  with  two  additional  parts  appeared  in 
1669. 

152.  Pleasant    Notes    on    Don    Quixote.     By    John    Gayton. 

{Lit.  of  R.,  p.  114.) 

153.  Triana:   or  A  threefold  Romatiza  of  Mariana,  Paduana, 

Sabina.     (G.  10366.) 
There  was  a  second  edition,  1664.     [By  Joseph  Hall?] 


176 

1655 

154-  The  Comical  History  of  Francion,   translated  from   the 
French  of  Sorel.     [Paris,  1622.]     (Upham.) 

155.  Coralbo:   a   New  Romance  in  three   hooks.     Written   in 

Italian  [by  F.  G.  Biondi  (1635)]  and  now  faithfully 
rendered  into  English.     (i247o.k.8.) 

156.  Wil  BagnaVs  Ghost:  or  the  Merry  Devill  of  Gadmunton 

in  his  Perambulation  of  the  Prisons  of  London.     By 
Edmund  Gayton.     (E.  861.  4.) 
A  series  of  satires  in  prose  and  verse. 

1656 

157.  Clelia.     An  Excellent  New  Romance.     Translated  from 

the  French  of  Mile,  de  Scudery  [Paris,    1654-56]. 
Parts  i  to  iv  by  J.  Davies,  Parts  iv  and  v  by  G. 
Havers. 
The  complete  work  was  printed  in  1661  in  five  volumes 
and  there  was  another  edition  in  1678. 

158.  The  Commonwealth  of  Oceana.     By  James  Harrington. 

(52i.k.io.) 
Other  edition  appeared  in  1700  and  1731. 

159.  The   Illustrious   Shepherdess.     Translated    by    "E.    P." 

from  the  Successos  y  Prodigies  de  Amor  oi  Perez  de 
Montalvan.     (E.  1588(1).) 

160.  The  Most    Pleasant    History    of    Bovinian.     Being    an 

addition  to  that  most  delightful  history  of  Crispins 
and  Crispianus.     (12613.C.) 
The  first  chapter  is  numbered  16. 

161.  Nature's  Pictures  drawn  by  Fancie's  Pencil  to  the  Life. 

By    Margaret    Cavendish,  Duchess   of    Newcastle. 

(G.  II599-) 
It  was  reprinted  in  1671. 
The   volume    contains   "several    feigned    stories   and 

natural  descriptions  as  comical,  tragical  etc." 

162.  A  Relation  of  the  Life  of  Christina,  Queen  of  Sweden. 

By  J.  Howell.     (Upham.) 

163.  The  Trepan.     (Lit.  of  R.,  i.  148.) 

164.  The  Witty  Rogue  Arraigned,  Condemned,  and  Executed; 


177 

or  the  History  of  ...  R.  Hainman  relating  the  several 
robberies,  mad  pranks  and  handsome  jests  by  him  per- 
formed.    Together  with  his  speech  at  the  place  of  exe- 
cution.    (E.882.(8).) 
Reprinted  as  The  English  Villain  or  Grand  Thief. 

165.  Don  Zara  del  Togo;  a  Mock  Romance.     Written  originally 

in  the  Brittish  Tonge  and  made  English  by  Basilius 
Musophilus,  i.  e.,  S.  Holland.     (12212  d.) 
This  was  reprinted    in  1660   as   Romancio-Mastix;  or 
a  Romance  of  Romances  and  in  17 19  as  The  Spaniard; 
or,  Do7i  Zara  del  Fogo  & 

1657 

166.  Guzman  Hind  and  Hannan  Outstript.     {Lit.  of  R.,  p.  15.) 

167.  The  Life  and  Adventures  of  Buscon  the  witty  Spaniard. 

Put  into  English  by  a  Person  of  Honour  to  which  is 

added  the  Provident  Knight. 
Other  editions  appeared  as  follows : 

1670,  second  edition. 

1683,  abridged  as  The  famous  history  of  Auristella. 
Originally  by  Don  Gonsales  de  Cespedes,  Together 
with  the  pleasant  story  of  Paul  of  Segovia  by  Don 
Francisco  de  Qtievedo.     Translated  from  the  Spanish. 

1707,  The  Comic  Works  of  Don  Francisco  de  Quevedo 
Translated  by  John  Stevens,  reprinted  in  1709 
and  1742. 

168.  Novels  of  Scarron.     Translated  by  J.  Davies. 

John  Davies  translated  the  Hypocrites,  The  Fruitless 
Precaution,  and  the  Innocent  Adultery  of  Scarron 
in  1657,  issuing  them  separately;  the  four  novelle 
from  the  Roman  Comique  he  issued  in  1662,  collecting 
them  in  1667,  and  in  1670  bringing  them  out  as  the 
Unexpected  Choice.  The  Hypocrites  is  from  Les  Hypo- 
crites a  redaction  of  La  Hya  de  Celistina  by  Alonsa 
Geronimo  de  Salas  Baradillo.     (Upham  and  D.N.B.) 

1658 

169.  The  Devil  of  Mascon.     Or  a  true  Relation.     [By  Francois 

Perrault],  Oxford.     (Gay.) 
13 


170.  The   Grand    Cabinet-Counsels    Unlocked.     By    Margaret 

of  Valois,  translated  by  Codrington.     (Upham.) 

171.  Panthalia;  or,  The  Royal  Romance.     A  discourse  stored 

with  infinite  variety  in  relation  to  state  governement 
.  .  .  Faithfully  and  ingeniously  rendered.  {The  opinion 
of  a  native  Candiot,  touching  this  royal  romance.  To 
the  living  memory  of  Catalion  Pomerano,  author  of 
Panthalia,  etc.,  [Signed  Florencio  Tribaccio]  (E.  1797 

(I).) 

1660 

172.  Bentivolio  and    Urania.     In  six  books.     By   Nathaniel 

Ingelo,  D.D.     (823. In.  4.O.) 
This  lengthy  and  uninteresting  religious  allegory  was 
reprinted  in  1660,  1673,  and  1683,  the  last  advertised 
as  the  "fourth  edition." 

173.  Olbia:  the  New  Island  lately  discovered.     By  a  Christian 

Pilgrim  (John  Sadler).  Printed  for  Samuel  Hartlib. 
(521,  g.2.) 

174.  Le  Prince  d' Amour,  or  the  Prince  of  Love.     Translated 

from  the  French  of  Martin  Fumee  by  Sir  Benjamin 
Ruddin,  or  Rudyerd.     (Malone). 

175.  Scipion.     Translated    from    the    French    of    Pierre    de 

Hortigues  de  Vaumoriere.     [Paris,  1656-62.] 

1661 

176.  Aretina;  or  the  Serious  Romance.     By  Sir  George  Mack- 

enzie.    (C.57,aa.28.) 

177.  Description  of  a  new  World,  called  the  Blazing  World, 

By  Margaret  Cavendish,  Duchess  of  Newcastle. 
(Harvard,  Eng.  Lit.,  15461.4.) 

178.  Don  Juan  Lamberto;  or  a  Comical  History  of  the  Late 

Times.     The  Second  Part,  by  Montelion   Knight  of 

the  Oracle.     (E.  1048 (8).) 
The  two  parts  were  reprinted  in  1664. 
The  first  part  was  presumably  written  about  1658. 
The  work  is  sometimes  attributed  to  John  Phillips, 

sometimes  to  Flatman. 

179.  Love  at  First  Sight,  or  the  Gay  iti  a  Flutter  and  the  Method 

of  Curing  Oneself  of  Love.     (Gay.) 


179 

i8o.    The  Wandering  Whore.     (Lit.  of  R.,  i.  207  n.) 

1663 

181.  The   History   of  Henry   IV.  .  .  .  King   of   France   and 

Navarre  ....     Translated    by   J.    Dauncey  Beau- 
mont de  Perefixe  from  the  French  of  Jean  Sombix 
[Leyden  and  The  Hague,  1663]  (284,  a. 21). 
It  was  reprinted  in  1672. 

182.  The  Lawyers  Clarke  Trappan'd.     {Lit.  of  R.,  i.  149.) 

183.  A    True  Account  of  the   Tryal  of  Mrs.  Mary  Carleton. 

(Lit.  of  R.,  i.  149.) 

1664 

184.  Birinthia,  a  romance.     Written  by  J.  B.,  Gent.    (635,  c.3.) 

185.  CCXI  Sociable  Letters.    By  Margaret  Cavendish,  Duchess 

of  Newcastle.     (G.  115  98.) 

186.  A  Pilgimage  into  the  Land  of  Promise.     By  Henry  Vane. 

(4403.  g-) 

187.  The  Satyricon  of  T.  Petronius  Arbiter. 

Reprinted  in  1677  and  1743. 

Retranslated  by  T.  Brown  in  1708  and  by  John  Addison 
in  1736. 

1665 

188.  A    Choice  Banquet   of   Witty   Jests,   Rare   Fancies,   and 

Pleasant  Novels.     By  J.  T.     (Malone.) 

189.  The  English  Rogue  described  in  the  life  of  Meriton  Latroon 

Being  a  compleat  history  of  the  most  eminent  cheats. 

By  R.  Head.     (12613,  cc.22.) 
In  1 67 1  was  added    The  English   Rogue,  Parts  j  and 

4.     By  Francis  Kirkman. 
Other  editions  are: 

1679,  Life  and  Death  of  English  R. 

1680,  (Malone). 

1689,  The  E.  R.  or  Witty  Extravagant. 
1693,  (advertised  in  the  T.  C.  for  November). 
1 70 1,  (advertised  in  the  T.  C.  for  November). 
1723,  with  pts.  5-7  "Seventh"  ed. 

190.  The  Highwaywoman  celebrating  Marcy  Clay.     (Lit.  of  R., 

i.  151.) 


180 

IQI.  Pandion  and  Amphigenia:  or,  the  History  of  the  Coy  Lady 
of  Thessaly.     By  John  Crownc.     (i26ii.f.) 

192.  La  Picara,  or  the  triumphs  oj  Female  Subtility  .  .  .  En- 

riched with  three  pleasant  novels.  Rendered  into 
English  with  some  alterations  and  additions  by  John 
Davie s  of  Kidwelly. 

Other  editions  are: 

The  Life  of  Donna  Rosina.  A  novel.  Done  into  English 
by  the  ingenious  Mr.  E.  W.  (A  compression  of  the 
1665  ed.) 

The  Spanish  Pole-cat;  or  the  Adventures  of  Donna  Rusina; 
in  foure  books.  Begun  to  be  translated  by  Sir  Roger 
U Estrange  and  finished  by  Mr.  Ozell  17 17.  Reprinted 
as  Spanish  Amusements:  or  the  Adventures  of  that 
Celebrated  Courtezan,  Senora  Rusina. 

Three  Ingenious  Spanish  Novels:  namely,  I.  The  Loving 
Revenge:  Or,  Wit  in  a  Woman.  II.  The  Lucky  Escape 
or,  The  Jilt  Detected.  III.  The  Witty  Extravagant: 
Or,  The  Fortunate  Lover.  .  .  .  Translated  with  Ad- 
vantage By  a  Person  of  Quality.  The  second  ed.,  1712. 
(Really  Davies'  translation  but  not  the  titles  nor  the 
order  of  his  novels.) 

In  1707  it  was  translated  in  The  Spanish  Libertines  or 
the  Lives  of  Justina,  the  Country  Jilt;  Celistina  the 
bawd  of  Madrid,  and  Estevanillo  Gonzales,  The  most 
Arch  and  Witty  of  Scoundrels.  To  which  is  added 
a  play,  an  Evenings  Adventures.  All  four  written  by 
eminent  Spanish  authors  and  now  first  made  English  by 
Captain  John  Stevens. 

1667 

193.  The  Visions  of  Don  Francisco  de  Quevedo  y  Villegas  [Mad- 

rid, 1627],  made  English  by  Roger  VEstrange. 
Other  editions  appeared  in: 

1668,  1671,  1673,  1678  (sixth  ed.),  1682  (with  an 
apocryphal  sec.  pt.),  1688,  1689,  1696,  1702,  1708 
(tenth  ed.),  1715. 

1702  burlesqued  in  verse,  and  in  the  New  Quevedo, 
or  Visions  of  Charon's  Passengers. 


181 

1668 
194-  The  Cimmerian  Matron,  to  which  is  added  the  Mysteries 
and  Miracles  of  Love.    By  P.  M.,  Gent.'  (Fry,  184-6.) 
See  no.  74,  1634. 

195.  The  Husband  forced  to  be  jealous,  or  the  good  fortune  of 

those  women  that  have  jealous  husbands.  Translated 
by  N.  H.  from  the  French  [Paris,  1663].     (1081,  d.28.) 

196.  The  Loves  of  Charles,  Duke  of  Mantua,  and  Margaret, 

Countess  of  Rovers.     Translated  out  of  Italian. 
Advertised  in  November  for  Knight  and  Saunders  and 
by  the  same  publishers,  in  May,  1685,  as  the  Amours 
etc.,  translated  out  of  the  Italian. 

197.  A  Relation  of  the  Country  of  the  Jansenia  never  till  now 

described.  Wherein  is  treated  of  the  singularities 
found  therein,  the  customs,  manners,  and  religion  of 
its  inhabitants.     With  a  map  of  the  country. 

"Composed  in  French  by  Louis  Fontaine  [Zacharie  des 
Liseux,  Capuchin]  in  1660  and  newly  translated  into 
English  by  P.  B."     (Begley.) 

Since  this  was  written  about  the  time  of  the  Jansenist 
controversy  it  is  probably  a  satire  on  Jansenism. 

1669 

198.  The  History  of  Tarquin  and  Lucretia.     By   Philander. 

(Malone.) 

199.  Psittacorum  Regio.     The  Land  of  Parrots;  or  the  Shetlands^ 

With  a  description  of  other  strange  adjacent  countries 
in  the  Dominions  of  the  Prince  d' Amour,  not  hitherto 
found  in  any  geographical  map.  By  one  of  the  most 
reputed  wits.     (Begley.) 

1670 

200.  The  Fortunate  Fool.     Written  in  Spanish  by  Don  Alonso 

Geronimo  de  Sales  Barbadillo  of  Madrid.  Translated 
into  English  by  Philip  Ayres,  Gent.     (R.  of  R.) 

201.  The  Gentleman  Apothecary;  Being  a  Late  and  True  Story 

turned  out  of  the  French  [of  J.  de  Villiers].     (1081, 
i.2.) 
A  lively  account  of  an  indecorous  episode. 


182 

202.  Les    Heureuses    Avantures    d' Amour.     By    Roger    Bon- 

temps.     A  translation  (1081,  1.2.) 
Clever  and  rather  licentious  anecdotes  characterized  by 
remarkably  witty  repartee. 

203.  The  Memoirs  of  Monsieur  Du  Vail:  containing  the  history 

of  his  life  and  death.     Whereunto  are  a^mexed  his 
last  speech  and  epitaph.     By  W.  Pope.     (1132,  9.62.) 
Reprinted  in  the  Harleian  Miscellany,  III,  1808. 

204.  The    Unexpected    Choice.     A    Novel  .  .  .  Rendered    into 

English    [from    the   Plus   d'Effets  que  de  Paroles  of 

Scarron].     By  J.  Davies.     Cf.  no.  168,  1657. 
Included  in  Scarron's  Complete  Works,  translated  by  T. 

Browne,  in   1700  and  reprinted  in    1703  and   1727. 

(1074  K.  10.) 
See  no.  427. 

1671 

205.  The  Amorous  Travellers,  or  Night  Adventures.     Written 

originally  in  Spanish  hy  A  Person  of  Honour.     Trans- 
lated into   French  by  the  exquisite  pen  of  the  Sieur 
Deganes  and  into  English  by  J.  B. 
Advertised,  Michaelmas  term,  by  Ambrose  Isted  and 
J.  Edwin. 

206.  The  Inconstant  Lover:  an  excellent  Romance.     Translated 

out  of  French.     (012550,  g.17.) 
This  typical  story  of  "gallant  loves"  is  told  by  the 
principal  hero  Alcidor  to  the  girl  he  finally  marries. 
In  many  places  it  is  satirical  and  markedly  anti- 
Platonic. 

207.  A   Letter  concerning  the  .  .  .  country    of   Muley   Arxid, 

King  of  Taleletta.     The  Relation  of  a    Voyage  into 
Mauritania.     (980,  b.25  (1-2).) 
This  same  year  appeared  a  variation. 

208.  Loves  Journal:  a  Romance  made  of  the  Court  of  Henry  II. 

of  France.     Printed  at  Paris  [1670]  and  now  made 
English.     (125181,  bbb.53.) 
This  account  of  the  "amours"  of  historical  personages 
is  in  no  way  remarkable. 

209.  Madame    Wheedle   or   the    Fashionable   Miss  Discovered. 

By  R.  Head.     (Gay.) 


183 

210.  Philosophus  Aiitodidactus,  sive  Epistola  Abu  Jaafar  Ebn 

Tophail  de  Hat  Ebn  Yokdhan;  in  qua  ostendiiui  quo- 
modo  ex  inferioriim  contemplation  ad  superiorum 
notitiam  ratio  humana  ascender e  possit.  Ex  Arabia 
in  lingua  Latinam  versa  ab  Edward  Pocockio.  Oxford. 
(Advocates  Lib.) 

In  1700  the  Latin  edition  was  emended. 

In  1674  it  was  translated  into  English  by  G.  Ashwell, 
as  An  Account  of  the  Oriental  Philosophy,  etc.,  and 
in  1708,  it  was  newly  translated  into  English  by 
Simon  Ockley  as  The  Improvement  of  Reason. 

211.  The  Vision  of  Theodorus  Verax.     By  Bryce  Blair.     (12350, 

a.) 
A  curious  little  satire. 

1672 

212.  The  Afinals  of  Love,  Containing  Select  Histories  of  Amours 

of  Divers  Princes.     Pleasantly  related.     (12414,  eee.). 

213.  The   Drudge   or   the   Jealous   Extravagant.     A    plea  for 

Gallantry. 
Advertised  by  Herringman  in  Easter  Term. 

214.  Flagellum,  or  the   Life  and  Death,  Birth  and  Burial  of 

Oliver  Cromwell,  the  late  Usurper. 
Advertised  by  Randall  Taylor,  Michaelmas  Term. 

215.  History  of  the  five  Wise  Philosophers,  or  the  Wonderful 

Relation  of  the  Life  of  Johosophat,  the  Hermit,  son  to 
Avenerio,  King  of  Baim  in  Itidia.  .  .  .  Manner  of 
conversion  to  ihe  Christian  Faith. 
This  old  story,  presumbly  in  a  new  guise  was  advertised 
by  Page,  Passenger  and  Harlock  in  Hillary  term, 
and  again  in  May,  1692. 

216.  History  of  the  French  Rogue;  being  a  pleasant  History  of 

his  life  and  fortunes,  adorned  with  variety  of  other 
adventures;  with  epigr/uns  suitable  to  each  stratagem. 
Advertised  in  Hillary  term  for  Lowndes. 

217.  Theopolis  or  the  City  of  God;  New  Jerusalem  in  Opposition 

to  the  City  of  the  Nations,  Great  Babylon. 
Advertised  by  Nathaniel  Ponder,  Hillary  Term. 


184 


1673 

2 1 8.  The    Counterfeit   Lady    Unveiled.     Being  a  full  Account 

of  the  Birth  and  Life  and  most  remarkable  actions  and 
untimely  death  of  Mary  Carleton,  know?t  by  the  name 
of  the  German  Princess. 
Advertised  in  Hillary  Term  for  Peter  Parker  and  as 
The  Memories  of  Madame  Charlton  for  Brooks  and 
Newman.     (10825,  aa.) 

219.  The  Floating  Island:  or,  a  new  discovery  relating  the  strange 

adventures  on  a  late  vouage  from  Lambethana  to  Villa 
Franca,  alias  Ramallia,  to  the  eastward  of  Terra  del 
Templo,  by  three  ships  viz.  the  Paynaught,  the  Excuse, 
the  Least-in- Sight.  Under  the  Conduct  of  Captain 
Robert  Owe-much  .  .  . 
Advertised  in  Trinity  Term  by  Frank  Careless  for 
Randall  Taylor,  and  Langbaine  mentions  a  play  of  the 
same  name.     (Huth.) 

220.  The  History  of  the  Fair  One  of  Tunis,  or  the  Generous 

Mistress.     A    new    piece    of    Gallantry.     Out  of  the 
French. 
Advertised  in  Michaelmas  Term,  by  Henry  Brome. 

221.  The  Life  and  Death  of  Edward  the  Black  Prince. 

Advertised  by  Buck  in  Hillary  Term, 

222.  The  Loves  of  Sundry  Philosophers  and  Other  Great  Men. 

Translated  out  of  French. 
Advertised  in  Hillary  Term  for  Herringman  and  Starkey 
and  in  Trinity  Term  for  the  same  publishers.  The 
Amours  of  Solon,  Socrates,  Julius    Caesar,   Cato  of 
Utica,  d'Andelot  and  Bussy  d'Amboise. 

223.  The  Mercury  Gallant;  containing  many  true  and  pleasant 

relations  of  what  hath  passed  at  Paris  from  Jan.  J, 
1672,  till  the  King's  departure  thence. 
Advertised  in  Hillary  Term  by  B.  Parker. 

224.  The  Unlucky  Citizen  Experimentally  described  in  the  various 

misfortunes  of  an  unlucky  Londoner  .  .  .  intermixed 
with  several  choice  novels  .  .  ,  illustrated  with  pictures. 
By  F.  K.,  i.  e.,  Francis  Kirkman,     (0,17717.) 
See  Lit.  of.  R.,  i.  211  +. 


185 

225-  The  Witty  Jests  and  Mad  Pranks  of  John  Frith  .  .  .  with 
Capt.  James.     {Lit.  of  R.,  i.   141.) 

1674 

226.  An  Account  of  Orieiital  Philosophy,   i.   e.,   Abu   Jaafar 

Ebn  Tophail.     See  no.  219,  1671. 

227.  Erastus  or  the  Roman  Prince.     Being  a  full  Account  of 

that  famous  History  of  the  Seven  Wise  Masters.     (Fry.) 
Francis    Kirkman    translated    this    from  the  French 

Erastus     in     1674.      It     was     reprinted     in     1684. 

(Quaritch.) 
Roland's  translation  of  The  Seveti  Sages,  compiled  in 

1547,  was  reprinted  in  1620. 

228.  The  Grand  Pyrates;  or  the  Life  and  Death  of  Captain 

George   Cusack,  Pyrate,  and  six   Companions.     (Lit. 
of  R.,  i.  141.) 
Advertised  for  Jonathan  Edwin,  Easter,  1675. 

229.  Jackson  s  Recantation,  or  the  Life  and  Death  of  the  No- 

torious Highwayman. 
Advertised  in  Easter  Term  by  Newman. 

230.  Legend  of  Captain  Jones,  Relating  his  Adventures  at  Sea, 

first  landing  and  combat  with  a  mighty  bear. 
Advertised  in  Michaelmas  Term. 

231.  Sad  and  Lamentable  News  from  Rumford  being  a  true  and 

dreadful  relation  of  the  sad  and  dreadful  end  of  W. 
Stapeler.     (1132,  b.78.) 

232.  The  Secret  History  of  the  Court  of  the  Emperor  Justinian 

Written   by  Procopius  of   Ccesario.      Faithfully   ren- 
dered into  English. 
Advertised  in  Trinity  Term  by  Barkesdale. 

1675 

233.  Beraldus,  Prince  of  Savoy.     A  novel  in  two  Parts.     Trans- 

lated out  of  French  by  a  Person  of  Quality. 
Advertised  Easter  Term  for  Grantham  and  J.  Crump. 

234.  The  Bloody  Innkeeper,  or  sad  and  barbarous  News  from 

Glocester-shire;  being  a  true  relation  how  the  bodies  of 
seven  men  and  women  were  found  murthered  in  a  garden 
belonging  to  a  house  in  Putley  near  Glocester.     With  tJie 


186 

strange  .  .  .  manner  how  the  same  was  discovered,  etc. 
(10803,  aa.  16.  (i).) 

235.  The  History  of  the  Sevarites  of  Sever amhi.     By  Captain 

Siden.     Part  1. 

In  1678  appeared  in  Paris,  a  second  part  in  French,  and 
in  1679  a  second  part  in  English. 

Crossley  attributes  the  whole  to  one  Vossius,  a  Dutch- 
man resident  in  England.  Begley  agrees  with 
Prosper  Marchand,  that  it  was  written  by  Denis 
Vairasse  D'allais  En  Longuedoc,  primarily  because 
the  initials  at  the  close  of  the  introduction  are  D.V. 
D.E.L.;  but  these  initials  appear  only  in  the  French 
versions. 

1676 

236.  Don  Carlos;  an  historical  relation  of  the  Life  and  Death 

.  .  .  of  that  Spanish  Prince  son  to  Philip  II.  from 

the  French  of  Vischard  de  Saint  Real  by  H.  J.  [1672].! 
In  Michaelmas  Term  Herringman  advertised  a  "second 

edition." 
1729,  reprinted  in  a  Select  Collection  of  Novels,  vol.  iii. 

(12602,  aaa.) 
It  was  upon  this  romance  that  Otway  founded  his  play 

"  Don  Carlos."     (1676.) 

237.  English    Adventures.     By  a  Person  of    Honour  (Roger 

Boyle).     (G.  17716.) 
It  is  from  this  story  that  the  plot  of  Otway's  "Orphan'' 
is  said  to  be  derived. 

238.  History  of  the  Grand  Viziers  Mahomet  and  Achmet  Cop- 

rogli  .  .  .  with  the  most  Secret  Intrigues  of  the  Ser- 
aglio. 
Advertised  in  Michaelmas  Term  by  Browne. 

239.  Scarron's   Comical  Romance;  or,  a  facetious  History  of 

A   Company    of   Strolling    Players.     Translated    by 
P.  Porter.     (12510,  1.2.) 

1  According  to  the  D.N.B.  the  English  version  appeared  in  1674  but  I  can 
find  no  authority  for  that  date  and  F.  W.  C.  Leider  who  has  made  a  special 
study  of  this  subject — "The  Don  Carlos  Theme  in  Literature,"  in  J.  of  Eng. 
and  Germ.  Philology,  Oct.,  1910,  ix,  4,  483-499 — gives  the  date  of  the  trans- 
lation as  1676. 


187 

It  was  re-translated  in  1700  by  T.  Browne  in  Scarron's 
Complete  Works.  And  other  editions  appeared  in 
1703  and  1727. 

240.  The  Sicilian  Tyrant,  or  the  Life  of  Agathocles;  with  some 

Reflections  on  our  late  Usurpers. 
Advertised  in  Easter  Term  by  R.  Royston. 

241.  Tachmas,  Prince  of  Persia.     An  Historical  Novel;  which 

happened  under  the  Sophy  Soleman  who  reigns  this 

day.     Translated  by  P.  Porter. 
Advertised  in  Michaelmas  Term. 
Langbaine  mentions  it  as  a  source  for  Southerne's  Loyal 

Brother. 

242.  A  True  Narrative  of  a  Wonderful  Accident  which  occurred 

upon  the  Execution  of  a  Christian  slave  at  Aleppo. 
(816,  m.23.22.) 

243.  A  True  Tragical  History  of  Two  Illustrious  Families  under 

the   names    of   Alcimus   and    Vannoza.     Written    in 
French  by  the  learned  J.  P.  Bishop  of  Belley.     Done 
into  English  by  a  Person  of  Quality. 
Advertised  in  Michaelmas  Term  by  Wm.  Jacob. 

244.  Zelinde,  an  Excellent  New  Romance,  translated  from  the 

French  of  Monsieur  de  Scudery.     By  T.  D.  [Thos. 

Durfey  or  Duffet?] 
Included  in  Mod.  Nov.,  vol.  vii. 
This  is  a  burlesque  rendering  of  Voiture's  Alcidalis. 

1677 

245.  Almahide,  or  the  Captive  Queen.     Translated  from  the 

French  version  of  M.  de  Scudery  [1660]  by  John 
Phillips.  "An  excellent  new  romance,  never  before 
in  English,  which  work  written  in  French  by  the 
accurate  pen  of  M.  de  Scudery.  .  .  .  Done  into 
English  by  J.  P.,  Gent."     (Col.  843,  Scu.  21.) 

246.  Asteria  and   Tamberlaine,   or  the  Distressed  Lovers.     A 

Novel  written  in  Fretich  and  Englished  by  E.C. 
Advertised  Trinity  Term  by  R.  Sollers. 
In    1 68 1,   Langbaine  mentioned   it  as  "done  by   Ch. 

Saunders."     See  no.  285,  1680. 
47.  Capello  and  Bianca,  a  novel.     Written  in  French  and  now 

Englished  by  L.  N.,  Gent. 


188 

Adverliscd  Michaelmas  Term  by  Enoch  Wyer. 

248.  The  Cheating  Gallant:  or  the  false  Count  Brian.     A  pleas- 

ant novel.      Translated  from,  the  French  [of   Gabriel 
de  Bremond,  Paris,  1677]  hy  a  Person  of  Quality. 
Included  in  Mod.  Nov.,  vol.  ii. 

249.  The  Confessions  and  Execution  of  the  five  prioners  suffer- 

ing at  Tyburn.     By  T.  Sadler.     (6495, aa. 2 (3).) 
Revised  as  Sadler's  Memoirs.     (1132,3.29.) 

250.  Evagoras.     A  romance.     By  L.  L.,  Gent.     (Huth.) 

Advertised   Hillary  Term  for  Robt.   Clavel  and  Th. 
More. 

251.  The  Happy  Slave;  a  novel.     Translated  from  the  French 

[of  Gabriel  de  Bremond  1678]  hy  a  Person  of  Quality. 

(12512,  aa.i.) 
Also  in  Mod.  Nov.,  vol.  ix,  and    a    new    translation 

(12602,  aaa.)  in  a  Sel.  Col.  Nov.,  vol.  iv.,  1728. 
In   1677,  for  the  same  publishers  was  advertised  in 

Hillary  Term  the    French  version:  "Uheureuse  Es- 

clave    combining    the    loves    of  Laura    and   dedie  a 

Ossory.'' 

252.  The  History  of  the  Golden  Eagle  hy  Philaquila  (12613,  c.i  i .) 

A  fairy  story  in  chap-book  form. 

253.  The  Lives  of  Sundry  notorious  Villains.  .  .  Together  with 

a  novel  as  it  really  happened  at  Roan  in  France. 
Advertised  in  Michaelmas  term  for  Sam.  Crouch. 

254.  A  Narrative  of  the  Adventures  of  L.  Marott,  pilot  royall  of 

the  galleys  of  France;  giving  an  account  of  his  slavery 
under  the  Turks,  his  escapes  out  of  it  and  other  strange 
occurrences  that  ensued  thereafter.  Tr.  from  the 
French  copy.     (1451a) 

255.  Pharamond;  or  the  History  of  France.     A  Famed  Romance 

in  twelve  parts.  Written  by  the  author  of  Cassandre 
and  Cleopdtre  (La  Calprenede).  Translated  by  J. 
Phillips. 

1678 

256.  An  Alarme  for  Sinners,  or  the  story  of  Robert  Foulkes  late 

minister  of  Stanton  Lucy.     {Lit  of  R.,  i.  155.) 

257.  Almanzor   and    Almanzaide,      A    novel   written    hy    Sir 


189 

Philip  Sidney  {pse2id)[?]  and  found  since  his  death 

among  his  papers. 
Advertised  Trinity  Term  by  Magnes  and  Bentley. 
This  is  probably  the  same  as  Almanzaide.     A  Noitvelle, 

(12513,  a.35.)  by  Mile,  de  la  Roche  Guilhem  [Cologne, 

1676],  a  typical  Franco-Greek  romance  with  Oriental 

setting. 

258.  The  Amorous  Convert;  being  a  true  relation  of  what  hap- 

pened in  Holland. 
Advertised  Michaelmas  Term  for  R.  Tonson. 
Is  this  Mrs.  Behn's  Fair  Jilt?    See  no.  352,  1688. 

259.  A  Collection  of  Select  Discourses  out  of  the  most  emhient 

Wits  of  France  and  Italy.  .  .  A  Dialogue  of  Love,  Wal- 
lensteins'  conspiracy  by  Sarasin,  Alcidalis,  a  Romance 
by  Mr.  Voiture.  Freskie's  Conspiracy  by  Signor 
Mascardi.     (836,  c.i.) 

260.  Diana,  Dutchess  of  Mantua,  or  the  Persecuted  Lover.     A 

Romance,  by  R.  Carleton.      (i26ii,c.) 

261.  The  English  Princess,  or  the  Dutchess  Queen:  A  relation  of 

English  and  French  Adventures.     A  novel  tr.  from  the 
French   (12614,  eee.14.) 
The  story  of  Mary  Tudor,  sister  to  Henry  VIII  and 
wife  of  Louis  XII  of  France. 

262.  Five  Love-Letters  from  a  Nun  to  a  Cavalier.     Done  out  of 

French  into  English.  By  R.  L'Estrange. 
This  was  reprinted  in  1693.  Meanwhile,  in  1683, 
appeared  Seven  Portugese  Letters;  being  a  second  part 
to  the  Five  Love-Letters  from  a  Nun  to  a  Cavalier  which 
was  also  reprinted  in  1693.  In  1694  came  Five  Love- 
Letters  written  by  a  Cavalier  {the  Chevalier  Del)  in 
answer  to  the  five  love-letters  written  to  him  by  a  Nun 
which  were  reprinted  with  the  original  letters  in 
1 7 1 6.  There  were  six  metrical  versions  of  the  Letters, 
in  1701,  1713,  1716,  I7i6and  1718,  and  1731. 

263.  The  Heroine  Musqueteer;  or  the  female  Warrior.     A  true 

history  very  delightful  and  full  of  pleasant  Adventures 
in  the  campaignes  of  16J6-77.  Translated  out  of 
French  [of  Prechac,  Holland,  1677]. 


190 

Advertised  in  Hillary  Term  for  Magnes,  Bentley,  and 
Tonson. 
It  was  reprinted  in  1700.     (12511,  bb.8.(i).) 

264.  The  Mock-Clelia;  being  a  comical  History  of  French  Gal- 

lantries   and    novels    in    imitation    0}   Don    Quixote. 
Translated  from  the  French  of  Perdou  [Paris,  1670- 
80]. 
Advertised  Hillary  Term  by  J.  Curtis. 

265.  The  Obliging  Mistress;  or  The  Fashionable  gallant;  a  novel. 

By  a  person  of  Quality.     (635,  a. 23. (2).) 
Another  ed.,  Mod.  Nov.,  vii.     (124 10,  c.) 

266.  The  Pilgrim's  Progress  from  this  world  to  that  which  is  to 

come:  delivered  under  the  similitude  of  a  dream.     By 
John  Bunyan.     (C.25,  c.24.) 
Other  editions  as  follows: 

1679,  1680,  1680,  unauthorized  second  part;  1682, 
1682,  1684,  1685,  1688,  1689,  1692,  1695,  27th  1728; 
1737.  -fol-;  1684,  Part  H;  1686,  1690,  1693,  1708, 
1712, 1723, 1726,  1728, 1732,  1742-3;  1693,  a  spurious 
third  part;  1698,  Pilgrim's  Passage  in  Poesie,  by 
Ager  Scholoe.  1700,  Pilgrim's  Progress  Done  into 
Verse  by  F.  Hoffman. 

267.  A  Pleasant  Novel;  discovering  the  amours  and  intrigues 

of  a  Town  Gallant,  in  the  delectable  Amours  of  Allophet 
and  Astrea  accompanied   by  Roderick  in  several  ad- 
ventures. 
Advertised  Easter  Term  for  W.  Leach, 

268.  Triumph  of  Love  over  Fortune.     A  Pleasant  Novel.     Writ- 

ten  in  French  by  Gabriel  de  Bremond,  and  Englished 
by  a  Person  of  Quality.     [Paris,  1677]. 
Included  in  Mod.  Nov.,  vol.  iv, 

269.  The  Viceroy  of  Catalonia  .  .  .     made  English  from  the 

French  of  Gabriel  de  Bremond.  By  James  Morgan. 
(12512,  aa.(2).) 

270.  Zayde.     A  Spanish  history,  or  romance.     Originally  writ- 

ten in  French.     By  Monsieur  Segray  (and  the  Count- 
ess de  La  Fayette  [Paris,  1670]).     Done  into  English 
by  P.  Porter.     In  two  parts.     (012547.1.17.) 
In    1690    another    ed.    "corrected."     (12511,    aa.20.) 


191 

In  1720  included  in  Sel.  Col.  Nov.,  vol,  i. 
In  1729  included  in  Sel.  Col.  Nov.,  vol.  i. 

1679 

271.  The  Count  d'Amboise,  nouvelle  galante.     (613,  b.27.) 

The  first  part  of  this  is  practically  identical  with  The 
Generous   Lover,    1689.     Mod.    Nov.,    vol,    ii, 

272.  Diana,    Duchess    of    Mantua.     By    Rowland    Carlton. 

(12611,  c.) 

273.  Fatal   Prudence;   or   Democrates   the    Unjorttmate   Hero. 

A  novel  translated  out  of  the  French.      (635,  d.3(2).) 

Also  in  Mod.  Nov.,  vol,  vi, 
A  short  romance, 

274.  The  History  of  Appian  of  Alexandria  in  two  parts.     The 

first  Punick,  Syrian,  Mithridatic,  Illyriann,  Spanish, 
and  Hannibalistic  Wars.  Part  second,  in  five  hooks 
the  Civil  Wars  of  Rome.  Translated  by  J.  Davies.^ 
(586.i.i7.) 

275.  The  Life  of  the  renowned  Peter  d'Aubusson,  grand  master 

of  Rhodes.  Translated  from  the  French  of  D.  Bon- 
hours.  A  continuation  of  the  History  of  Rhodes 
tinder  the  government  of  Philip  de  Villiere.  (613, 
b.27.) 
Advertised  in  Michaelmas  Term,  1678,  as  The  Life  of 
the  renowned  Pierre  d'Aubusson,  Grand  Master  of 
Rhodes.  .  .  .  Sieges  of  Mahomet  and  Solyman. 

276.  Wife  for  a  Husband  and  a  Husband  for  a  Wife;  or,  a  Popish 

priest  turned  match-maker  between  a  knight  and  a 
gentlewoman  of  pretended  great  fortune  .  .  .  with 
news  from  Prester- John's  country.     (T.88(25).) 

1680* 

277.  Amours  of  Madame  and  the  Count  de  Guiche.     Translated 

by  a  Person  of  Quality  from  the  French.  (1080, 
b.24.) 

>  Davies  translated  many  quasi-fictitious  pieces,  as  for  example,  Olearius's 
Travels,  1662,  Life  and  Philosophy  of  Epicletus,  1670,  Henry  the  Great,  cf  France, 
1672  etc.     See  "John  Davies  of  Kidwelly"  by  Sidney  Lee  in  D.N.B. 

''Presumably  to  this  year  belongs  Mrs.  Behn's  translation,  Lycidas.  See 
Ante,  p.  ??• 


192 

278.  The  Count  oj  Gahalis;  or,  The  Extravagant  Mysteries  of 

the  Cabalists  exposed  in  five  pleasant  discourses  on 
the  secret  sciences.  Done  into  English  (from  the 
French  of  Abb6  de  Montfaucon  de  Villars)  by  P. 
A[yres],  Gent,  with  short  animadversions.     (19,  e.19.) 

Included  in  Mod.  Nov.,  vol.  ii. 

And  in  Sel.  Col.  Nov.,  vol.  v,  1722. 

279.  The  History  of  the  most  renowned  Queen  Elizabeth  and 

her  great  favorite  the  Earl  of  Essex.  A  romance  in 
two  parts.     (G.  15 15.)     See  126,  1650. 

280.  Hattige,  or  the  Amours  of  the  King  of  Tamaran  [that  is 

of  Charles  II  of  England  with  the  Dutchess  of  Cleve- 
-land].  A  novel  [by  G.  de  Bremond,  1676].  Trans- 
lated from  the  French  by  B.  B.     (12510,  aaa.) 

It  was  included  in  Mod.  Nov.,  vol.  i,  and  in  1720,  it  was 
reprinted  as  The  Beautiful  Turk. 
^  281.  The  Life  and  Death  of  Mr.  Badman  presented  to  the  World 
in  a  familiar  Dialogue  between   Mr.    Wiseman  and 
Mr.  Attentive.     (4415b.) 

There  were  reprints  in  1696,  1734,  etc. 
282.  The   Novels   of  Elizabeth  .  .  .  containing   the  history  of 
Anne  Bullen.     Rendered  into  English  by  S.  H[ick- 
man]  from  the  French  [of  the  Countess  d'Aulnoy, 
Paris,  1674].     (G.  1516.) 

Short  stories  supposed  to  be  told  by  the  Duke  of  North- 
umberland at  Elizabeth's  command,  in  which  the 
ruin  of  Anne  is  attributed  to  the  machinations  of  a 
Mistress  Blount. 

In  1 68 1,  appeared  Pt.  II,  containing  the  history  of  Bassa 
Solyman  and  the  Princess  Ero?iima.  The  last  part. 
Englished  by  S.  Hickman  [from  the  original  French 
of  the  Countess  d'Aulnoy,  1680].     (12604,  bbb.14.) 

Reprinted  in  1700?,  1725,  1730  with  a  "second  part," 
and  in  1740?. 
~\  *^  283.  The  Pilgrim:  a  pleasant  piece  of  gallantry:  written  in 

French  by  G.  de  Bremond  [1675]?.  Translated  by 
Peter  Belon.     (1208,  e.I.) 

Reprinted  in  1700  with  part  II.     (12511,  bb.8(3).) 


193 

284.  The  Princess  of  Montferrat.     A  Novel.     Translated  from 

the  French. 
Contained  in  Afod.  Nov.,  vol.  x. 

285.  Royal  Loves;  or,  the  Unhappy  Prince.     A  Novel.     Written 

in  French  by  a  Person  of  Quality.  Now  rendered  into 
English.     (12510,  aaaa.8.) 

A  typical  romance  of  crossed  loves  in  the  "Chinese 
box"  method.  The  heroine  is  Asteria,  daughter  of 
Bajazet,  and  the  hero  Adanaxus,  son  to  Tamberlaine, 
so  that  this  may  be  a  reprint  or  variation  of  "Asteria 
and  Tamerlaine." 

Cf.  no.  246,  1677. 

286.  The  Vain  Prodigal  Life  and  Tragical  Penitent  Death  of 

Th.  Hellier  the  murderer  executed  in  Virginia,  in  1678. 
(Huth.) 

1681 

287.  The  Extravagant  Poet.     A    Comical   Novel.     Translated 

out  of  the  French.     In  Mod.  Nov.,  vol.  viii. 
This  is  really  a  satirical  "character." 

288.  Gallant  Memoirs:  or  the  Adventures  of  a  Person  of  Quality. 

Translated  from  the  French  of  G.  Bremond  [Paris, 
1680],  by  P.  Belon.     Mod.  Nov.,  vol.  ix. 

289.  Homais,   Queen  of  Tunis.     A   Novel.     Translated  from 

the  French  of  Bremond?  [Amsterdam,  1681]  by 
Sebastian  Grenadine.     Mod.  Nov.,  vol.  i. 

290.  The  Life  of  Francis  of  Lorrain,  Duke  of  Guise.     Trans- 

lated from  the  French.     {Mod.  Nov.,  vol.  vi.) 

291.  The  Most  Delectable  History  of  Reynard  the  Fox.     Newly 

corrected  and  purged  from  all  grossfiess  in  Phrase  and 
Matter.  (Malone.) 
Pt.  Ill,  or  Reynardine,  a  compilation  by  Brewster, 
was  added  in  1684.  Pt.  I,  the  original  Flemish  ver- 
sion of  Reinike  de  Vos,  appeared  in  1479,  was  trans- 
lated and  printed  by  Caxton  in  1481  and  continually 
reprinted.  In  1681  appeared  the  English  additions, 
presumably  by  Edward  Brewster.    Reprinted  in  1701. 

292.  Strangements;  news  from  the  land  of  Chivalry.     (Sh.12612, 

i.) 
A  satire  on  Sir  Roger  L' Estrange. 
14 


194 

293-  ^  True  Relation  of  a  Strange  Apparition  which  appeared 
to  Lady  Grey  commanding  her  to  deliver  a  message 
to  .  .  .  the  Duke  of  Monmouth.     (105,  6.59(2).) 

A  Reply,  The  Lady  Grey  Vindicated  appeared  very 
soon  thereafter.     (816,  m.2(i8).) 

These  are  news-sheets. 

294.  The  Unequal  Match;  or,  the  life  of  Mary  of  Anjou  .  .  . 

an  historical  Novel.  Translated  from  the  French 
of  Jean  de  La  Chappelle  by  F.  S.,  i.  e.,  Ferrand 
Spence,  2  pts.,  and  bound  with  Mod.  Nov.,  vol.  xii. 
(12612,  de.8.) 

1682. 

295.  Altizira,  Princess  of  Fess;  or  the  amours  of  the  court  of 

Morocco.  A  novel.  Translated  from  the  French  of 
G.  de  Bremond  by  P.  Belon  (12512,  b.).  Bound  with 
Alod.  Nov.,  vol.  vii. 

296.  The  Emperour  and  the  Empire  Betrayed.     Mod.   Nov., 

vol.  xii.     More  of  a  political  essay  than  a  narrative. 

297.  Meroveus,  (son  of  Chilperic  I  of  France)  a  Prince  of  the 

Blood-royal  of  France.  A  novel.  Translated  from 
the  French  by  F.  S.,  i.  e.,  Ferrand  Spence.  (125 10, 
aa.y.)     Bound  with  Mod.  Nov.,  vol.  ii. 

298.  A  New  Version  of  the  Lady  Gr — 5  {i.  e.,  of  Mary,  Lady  Grey 

of   Werke]   coficerning  her  sister,   the  lady  Berkeley. 

In  a  letter  to  Madame  Fan .     (1892,  d.78.) 

a.  Post  no.  394,  1693;  no.  584,  1728,  and  no.  627,  1734. 

299.  The  Novels  of  Giiovanni)  F{rancesco)  Loredano  (younger) 

.  .  .  Translated  into  English.  [Nine  novels.]  (1073, 
a.40.) 

300.  The  Perplexed  Prince,  by  S.  T.     (292,  a. 34.) 

A  chapbook  in  which  the  old  king  and  the  peasant 
device  is  used  to  urge  the  cause  of  the  Duke  of  Mon- 
mouth. 

The  presumption  is  that  the  work  was  written  before 
1682. 

1683 

301.  An  Account  of  the  Secret  Services  of  M.  de  Vernay  .  .  .  to 

Count  Teckeley,  as  they  passed  hy  the  way  of  Letters, 
etc.     Translated  out  of  the  French.     (1058. a.  18 (2).) 


195 

This  may  not  be  fiction,  see  under  1686  and  1693. 

302.  The   Countess   of  Salisbury.  .  .  .  An    Historical    Novel. 

Translated  by  Ferrand   Spence  from  the  French  of 
d'Argenia.     (837,  a.3,  and  Mod.  Nov.,  vol.  ill.) 
This  is  an  elaborated  version  of  the  story  in  Painter. 

303.  The  Crafty  Lady;  or,  the  Rival  of  Himself.     A   Gallant 

Intrigue.  Translated  "out  of  French  into  English 
with  an  epistle  dedicatory,"  signed  F.C.Ph.  (12511, 
aaaa.42.) 

304.  Don  Sebastian,  King  of  Portugal.     Translated  by  Ferrand 

Spence.     {Mod.  Nov.,  vol.  v.) 
Cf.  no.  4,  1601. 

305.  The  Dutch  Rogue;  or  Guzman  of  Amsterdam,  traced  from 

the  cradle  to  the  gallows;  being  the  life  and  fall  of  D.  de 
Libechea,  a  decayed  merchant. 
Advertised  in  Trinity  Term  by  S.  Smith. 

306.  Eromena;  or  the  Noble  Stranger.     (12511,  e.20.(2).) 

A  prose  version  of  Chamberlayne's  Pharonnida. 

307.  The  Essex  Champion;  or  the  Famous  History  of  Sir  Billy 

of  Billercay  and  his  squire  Ricardo.     {Lit.  of  R.,\.  1 12.) 

308.  The  Fortunate,  the  Deceived,  and  the  Unfortunate  Lovers. 

Three  excellent  new  novels,  containing  many  delightful 
Histories.     Printed  in  English  and  French,  written  by 
the  Wits  of  both  nations. 
Advertised  in  T.  C.  in  May.     Cf.  no.  632,  1735. 

309.  The  History  of  the  Bucaniers,  translated  from  the  Dutch 

by  Alexander  Oliver  Exquemelin,  De  Americaensche 
Zee-Roovers.     Amsterdam,  1678.     {Lit.  of  R.,  i.  178.) 

310.  The  Neapolitan;  or  the  defender  of  his  mistress.     Done 

out  of  French  [1682]  by  Mr.  Ferrand  Spence. 
Advertised  in  June  by  Bentley  and  Magnes. 

311.  The  Perplexed  Princess,  or  the  famous  novel  of  Donna 

{Maria  de)   Zagas.     Written  originally  in   Spanish. 
Advertised  in  July  by  T.  Malthus. 

312.  The  Travels  of  True  Godliness  from  the  beginning  of  the 

world  to  the  present  day;  in  an  apt  and  pleasant  allegory. 
By  Benjamin  Keach.     (4415,  c.) 
Reprinted  in  1684  with  'T.  G.'s  Voyage  to  Sea,''  and 
in  1700,  '08,  '18,  '26,  '33. 


196 

313-  The  Unsatisfied  Lovers.     A  new  English  novel. 
Advertised  in  November  for  J.  Partridge. 

1684 

314.  The  Adventures   of  the   Little   Black  Lady.     By   Aphra 

Behn. 
No  edition  of  this  year  is  extant  but  Professor  Siegel 
assigns  this  date. 

315.  The  Amours  of  Bonne  Sforza,  Queen  of  Polonia.     Trans- 

lated from  the  French  by  P(eter)  B(elon).  In  Mod. 
Nov.,  vol.  viii. 

316.  The  Amorous  A.:  or  Love  in  a  Nunnery.     A  novel.     Trans- 

lated from  the  French  by  a  woman  of  quality.  Bound 
with  Mod.  Nov.,  vol.  v. 

317.  The  Chaste  Seraglian;  or  Yolanda  of  Sicily.     Translated 

by  "T.  H.,    Gent"  from    the    French    of    Pr6chac, 

1678. 
Advertised  in  Michaelmas  Term  for  T.  Malthus. 
Included  with  a  second  part,  printed  in  1685,  in  Mod- 

Nov.,  vol.  vi. 

318.  Dialogues  of  the  Dead,  etc.     Mod.  Nov.,  vol.  xii. 

319.  The  Famous  Romance  of  Tar  sis  and  Zelie;  digested  into  ten 

hooks.     Written  originally  by  an  acute  pen  of  a  person 
of  honour.    Done  into  English  by  Charles  Williams, 
Gent. 
Advertised  in  November  for  N.  Ponder. 

320.  The  Great  Alcander. 

Advertised  in  Michaelmas  Term. 

Probably  a  reprint  of  the  translation  of  Les  Amours 

de  Henri  IV  ou  du  grand  Alcandre.     See  no.   181, 

1661. 

32 1 .  The  Life  and  Death  of  Mother  Shipton  strangely  preserved 

among  other  writings  belonging  to  an  old  monastery  in 
Yorkshire  and  now  published  for  the  information  of 
posterity.  By  R.  H.,  i.  e.,  Richard  Head.  (8631, 
aaa.  12.) 

322.  Love   Victorious  over  Fortune.     Bound  with  Mod.   Nov. 

vol.  iv. 
y      323.  The  Progress  of  Sin,  or  the  Travels  of  Ungodliness  .  .  . 


197 

in  an  apt  and  pleasant  allegory;  together  with  the  .  .  . 
manner  of  his  apprehension  .  .  .  tryal  .  .  .  and  exe- 
,  cution.     By  Thomas  Keach,  Author  of  War  with  the 

^/  Devil.     (4415,  c.) 

''  Reprinted   in  1700  with  additions,  and  in  1707,  1724, 

^  1727  etc. 

'^     324.  The  Travels  of  Don  Francesco  de  Quevedo  Through  Terra 
Anstralis    Incognita;    discovering    the    laws,  customs, 
^  manners,  and  fashions  of  the  South  Indians.     A  novel 

originally  in  Spanish. 
A  very  poor  Quixotic  romance.     (Begley.) 

325.  The  Triumph  of  Friendship  and  the  Force  of  Love.     Two 

new  novels  from  the  French. 
Advertised  in  November  for  J.  Brown  &  J.  Walthoe. 

1685 

326.  The  Academy  of  Complements:  or,  a  new  way  of  wooing. 

Wherein  is  a  variety  of  love-letters,  very  fit  to  he  read 
of  all  young  men  and  maids  that  desire  to  learn  the  true 
way  of  complements.     (12314,  aa,i7.) 
It  appeared  again  in  sHghtly  varying    forms  in  1705, 

1713,  1715- 

327.  The   Court  of  the  King  of  Bantam.     By  Aphra   Behn. 

This  date  is  only  approximate. 

328.  Don  Heneriques  de  Castro,  or  the  Conquest  of  the  Indies. 

A  Spanish  Novel.     Translated  by  a  Person  of  Honour. 
In  Mod.  Nov.,  vol.  i. 

329.  The  Familiar  Epistles  of  Col.  Henry  Martin  found  in  his 

Misses  Cabinet.     (Cat.  no.  44  issued  by  Ellis   and 
White.) 

330.  The   Gallants;   or   the   Reciprocal    Confidents.     A    Novel. 

Translated  by  a  Person  of  Quality.     (125 12,  ccc.i6.) 


198 

16861 
331-  A  gratis,  Queen  of  Sparta;   or  the  Civil  Wars  of  the  Lace- 
demonians, in  the  Reigns  of  Kings  Agis  and  Leonidase 
In   two   Parts.     Trayislated    out    of    the    French    [of 
Pierre  d'  Hortigues,  Paris,  1685]. 
Advertised  in  February  by  Bentley  and  Magnes. 

332.  Amours  of  Count  Teckeli,  and  the  Lady  Aurora  Veronica  de 

Serini.     Cotitaining  his   First  hiducements  to  make 
War  with  the  Emperor,  and  to  Enter  into  the  Turkish 
Army  against  the  Christians.     Translated  out  of  French 
[1685].     (12511.de.24.) 
See  ante  no.  301,  1683  and  post  no.  396,  1695. 

333.  The  Character  of  Love  guided  by  Inclination,  instanced  in 

two  true  histories  translated  out  of  French.  In  Mod. 
Nov.,  vol.  iv. 

334.  Delightful  Novels  exemplified  in  eight  choice  .  .  .  Histories 

lately  related  by  the  most  refined  wits,  with  interludes. 
.  ...  In  which  are  comprised  the  ...  adventures 
.  .  .  of  several  English  gentry.  .  .  .  Fourth  Impression 
enl.  with  the  addition  of  two  new  novels.     (1081,  d.6.) 

335.  A  Dialogue  between  Francesco  and  Aurelia,  two  unfortu- 

nate orphans  of  the  City  of  London.  In  Delightful 
Novels. 

336.  Love's  Poesie:    or,  a  collection  of  seven  and  twenty  love- 

letters,   both  in  verse  and  prose;    that  lately  passed 
betwixt  a  gentleman  and  a  very  young  lady  in  France. 
(10910,  aa.22.) 
Cf.  no.  393,  1693. 

337.  Nugae  Venales:  or,  a  complaisant  companion;  being  new 

jests  .  .  .  The  third  edition  corrected,  with  many  new 
additions.     By  Richard  Head.     (i23i5.a.34.) 

338.  The  Secret  History  of  the  House  of  Medici.     Written  origi- 

nally by  that  famed  historian,  the  Sieur  Varillas. 
Made  English  by  Ferrand  Spence. 

1 1  am  told  by  Professor  Trent,  to  whom  the  remaining  footnotes  to  this 
appendix  are  due  that  this  was  advertised  in  L'Estrange's  Observalor  for  Jan. 
i6,  1685-6  and  that  the  advertisement  bears  the  date  1686.  We  read  in  the 
same  journal  under  the  date  Oct.  13,  1686.  "Advertisement  La  Montre:  Or 
the  Lovers  Watch,  By  Mrs.  A.  Behn,  Printed  for  W.  Canning,  at  his  Shop  in 
Vine-Court,  Middle-Temple,  1686." 


199 

Advertised  in  February  by  Bentley  and  Magnes. 

1687 

339.  Cynthia:  with  the  tragical  account  of  the  unfortunate  loves 

of  Almerin  and  Desdemona.     A  novel  .  .  .  Done  by 
an  English  Hand.     (Bodleian.) 
An  American  reprint  appeared  in  1798. 

340.  The  Gallant  Hermaphrodite.     An  amorous  novel  translated 

from  the  French  of  Sieur  Chavigny. 
Advertised  in  November  by  Manship. 

341.  The  History  of  Nicerotis;  a  pleasant  Novel.   (116,  ii,a.7.) 

Another  edition,  has  the  title  ''The  Fragments  of  a 

History,  etc''     (123330,  aaa.6.(4).) 
This  is  a  very  complicated  and  highly  indecorous  tale 

involving  many  earlier  novelle. 

342.  The   History   of   the    Nine    Worthies   of  the  World.     R. 

B(urton,  pseud.  Nathaniel  Crouch).     (10603,  a.) 
Reprinted  in  1703. 

343.  An   Hue  and   Cry  after  Conscience.     (Brown's   Life   of 

Bunyan.) 
This  is  a  burlesque. 

344.  Letters   writ  by  a  Turkish  Spy,  who  lived  five  and  forty 

years  at  Paris;    giving  an  Account  .  .  .  of  the  most 
remarkable  transactions  of  Europe  .  .  .  from  1637  to 
1682.    Translated  by  W.  Bradshaw  and  others  from 
the  French  of  Marana.     See  ante,  p.  66. 
26  editions  by  1770. 

345.  The  Martyrdom  of  Theodora  and  Didymous.     By  a  Person 

of  Honour.     (Hon.  Robert  Boyle.)     (861,  g.4-) 

346.  The  New  Disorders  of  Love.     A  gallant  novel.     Writteni 

by  Richard  Gibbs,  of  Norwich,  Phi.  Med. 
Advertised  in  February  by  Bentley  and  Magnes. 

347.  Ottoman  Gallantries,  or  the  Life  of  the  Bassa  of  Buda. 

Done  out  of  French.  In  Mod.  Nov.,  vol.  vi,  as  Ibrahim, 
Bassa  of  Buda.  From  the  French  of  Zesien  de  Fur- 
stenair,  1645. 

iThe  advertisement  in  the  Observalor  Mar.  2.  1686-7  shows  that  this  novel 
really  belongs  to  1687.  It  is  advertised  immediately  below  "Ottoman  Gallan- 
tries, or  the  Life  of  the  Bassa  of  Buda.     Done  out  of  French." 


200 

348.  The  Spanish  Decameroji;    or  ten  novels  viz.     The  Rival 

Ladies,  The  Mistakes,  The  Generous  Lover,  The  Liber- 
tine, The  Virgin  Captive,  The  Perfidious  Mistress,  The 
Metamorphosed  Love,  The  Impostor  Outwitted,  the 
Amorous  Miser,  the  Pretended  Alchemist.  Made 
English  by  R.  L.  (Bodleian.) 
Advertised  in  May  by  S.  Neale. 

1688 

349.  The  Art  of  Making  Love  in  Mod.  Nov.,  vol.  vi. 

350.  Clitie;  a  novel.     By  Richard  Blackborn,  Gent. 

Advertised  in  February  by  Bentley  and  Magnes. 

351.  The  Count  de  Soissons:  a  gallant  novel  (by  Isaac  Claude). 

Translated  out  of  French,      In  Mod.  Nov.,  vol.  x. 
In  1731  appeared  a  second  edition.     (1081,  d.25.) 

352.  The  Disorders  of  Bassett,  a  novel.     Done  out  of  French. 

(12510.) 

353.  The  Fair  Jilt.     By  Aphra  Behn. 

Again,  this  date  is  only  approximate.     See  no.  258,  1678- 

354.  The  Fatall  Beauty  of  Agnes  de  Castro.     Taken  out  of  the 

History  of  Portugal.     Translated  by  "P.  B.  Gent." 
from  the  French.     Mod.  Nov.,  vol.  v. 
This  version  is  practically  the  same  as  the  one  included 
among  Mrs.  Behn's  novels  and  Prof.  Siegel  assigns 
her  translation  to  this  year. 

355.  The  History  of  the  Loves  of  Lysander  and  Sabina,  a  novel. 

(635,  a.42.)     The  dedication  is  signed  T.  S. 

356.  The  History  of  the  Royal  Slave;  or  Oroonoko.     By  Aphra 

Behn. 

357.  The  Life  of  St.  Francis  Xavier  of  the  Society  of  Jesuits, 

Apostle  to  the  Indians.     Translated  by  Mr.  Dryden. 
[from  the  French  of  D.  Bouhour].     (862,  f.8.) 

358.  The  Princess  of  Cleves  .  .  .  written  by  the  greatest  wits  of 

France   [Marie   Madeleine   Motier,   Countess  de   la 
Fayette,  1678].     (12512.ee. 6.) 
In  1722  there  was  a  different  translation  in  Sel.  Col. 
Nov.,  vol.  2,  and  in  1729,  a  second  edition  of  above. 

359.  Simplicissimus.     Translated  from  the  German  of  Grim- 

melhausen. 
Advertised  in  February  for  Baldwin. 


201 

360.  Three  novels  in  one,  viz.:  The  Constant  Lovers,  Fruits  of 

Jealousy,   Wit  in  a   Woman  with  Sempronia  or  the 
Unfortunate  Mother.     By  R.  Blackbourn,  Gent. 
Advertised  in  May  for  G.  Grafton. 

1689 

361.  Amours  of  Messalina,  late  Queen   of   Albion.     In  four 

parts.     Translated  from  the  French.     (635,  3.4.(1).) 
Reprinted  with  an  additional  fifth  part  in  1690  as  The 

Royal  Wanton. 
2,62.  Amours  of  the  Sultana  of  Barbary  .  .  .  (i.  e.,  L.  R.  de 

Penancoet,  de  Keroualle,  Duchess  of  Portsmouth). 

A  novel,  in  2  pts.     (G.  13992.) 
Reprinted  in  1690  as  The  Secret  History  of  the  Dutchess, 

etc.     (836,  b.6.) 

363.  The  Count  of  Amboise;  or  the  Generous  Lover.     A  novel 

written  originally  in  French  by  Madam  .  .  .  [Cath- 
erine Bernard].     Pt.  I. 
Included  in  Mod.  Nov.,  vol.  xi.     Cf.  no.  271,  1679. 

364.  The  Court  Secret;  a  novel.     (Mod.  Nov.  vol.  vi.) 

365.  The  Governour  of  Cyprus  or  the  Loves  of  Virotto  and  Dor- 

othea.   A  novel. 
Advertised  in  November  for  J.  Knapton. 

366.  The  History  of  the  Nun;  or  the  Fair  Vow  Breaker.     By 

Aphra  Behn. 
Reprinted    in   her   collected    works   as    The   Perjured 
Beauty. 

367.  Intrigues  of  Love;  or  Amours  and  Gallantries  of  the  French 

court  during  the  reign  of  the  amorous  and  warlike 

Prince  Henry  IV. 
Newly   translated    from    the    French    by   Sir   Edwin 

Sadlier.     See  ante,  no.  181,  1661,  and  no.  320,  1684. 
Advertised  in  May  for  B.  Crayle. 

368.  Love  Letters  between  Polydorus  and  Messalina  (Gay). 

369.  The  Lucky  Mistake.     By  Mrs.   Behn.     In   Mod.   Nov., 

vol.  i. 

370.  Peppa:  or,  the  Reward  of  Constant  Love.     A  novel.     Done 

out  of  French.  With  several  songs  set  to  music  for 
two  voices.  By  a  young  gentlewoman.  A,  C.  [Lady 
Cokaine?].     (Bodleian). 


202 

A  typical  romance  of  the  Franco-Greek  variety. 

371.  The  Rival  Princesses  or  the  Colchian   Court.     A   novel. 

In  Mod.  Nov.,  vol.  x. 

372.  TJie  Wa7iton  Fryer,  or  the  Irish  amour.     A  new  novel. 

Advertised  in  May  for  Bentley  and  Magnes. 

1690 

373.  Amours  of  Philaris  and  Olinda.     Dedication  signed  S.L. 

2  pts.     (80828,  bb.i6). 

Advertised  in  May,  but  the  B.  M.  edition  is  of  1730, 

374.  The  Cabinet  Opend;  or  the  Secret  History  of  the  Amours 

of  Madam  de  Maintenon  with  the  French  King.  Mod. 
Nov.     vol.  xi. 

375.  Gallantry   Unmasked;  or  wo?nen  in  their  proper  colours. 

A  Novel. 
Advertised  in  November  by  Bentley. 

376.  The  Great  Scanderheg,  a  novel  [by  M.  Chevreau]  done  out 

of  French.  Mod.  Nov.,  vol.  xi. 
This  tale  is  probably  founded  on  a  Latin  biography. 
Scanderheg.  Barletius  (Marinus)  de  Vita,  Moribus 
ac  Rebus  praecipue  adversus  Turcas  gestis  Georgii 
Castrioti,  clarissimi  Epirotarum  principis  .  .  .  libri 
tredecim,  1537.     (Quaritch.) 

377.  The  History  of  the  Marechalless  de  la  Ferte  Senneterre. 

In  Mod.  Nov.,  vol.  viii. 

378.  The  Irish  Rogue;  or  the  comical  history  of  the  Life  and 

actions  of  T{eague)  0'D(ivelley)  from  his  birth  to  this 
present  year,  i6go.  (With  a  preface  by  J.  S.. 
(io79.b.5) 

379.  The  Revived    Fugitive;   a   gallant   Historical   Novel.     In 

Mod.  Nov.,  vol.  vii.i 

1691 

380.  Casimer,    King    of    Poland.     Translated    by    Ferrand 

'In  1690  appeared  the  first  edition  of  B.  Star's  translation  of  "The  History 
of  Madamoiselle  de  St.  Phale,"  a  popular  account  of  the  conversion  to  protest- 
antism of  a  French  lady  and  her  daughter  and  of  the  defeat  of  a  wily  Jesuit. 
Still  more  suggestive  of  fiction  is  "The  French  Convert"  of  A.  D'Auborn,  of 
uncertain  date,  but  about  this  period.  Both  these  books  have  been  erroneously 
attributed  to  Defoe.  An  edition  of  the  second  was  printed  at  Haverhill, 
Mass.,  in  i794- 


203 

Spence  from  the  French.     Included  in  Mod.  Nov., 
vol.  ii. 

381.  The  French  King  proved  a  Bastard:  or,  the  Amours  of 

Anne  {Queen   to  Louis  XIII)  with  the  Chevalier  de 
Roan. 
A  second  edition  was  issued  in  1692.     (901,  a. 21.) 

382.  The   Secret  History  of  the  Duke   of  Alanqon  and   Queen 

Elizabeth.     Included  in  Mod.  Nov.,  vol.  i. 

1692 

383.  The  Female  Gallant;  or  the  Wife  the  cuckold.     A  novel. 

Advertised  in  May  by  S.  Briscoe. 

384.  The  Illustrious  Persian  Maid:   or  Amours  of  a  German 

Prince. 
Advertised  in  Mod.  Nov.  for  Gil.  Cowerly. 

385.  Incognita:  or  Love   and  Duty  ReconciVd.     By    Cleophil, 

i.  e.,  William  Congreve.     (Bodleian.) 

386.  Memoirs    of    the     Court    of    Spain.      In    two     Parts. 

Written   by  an   Ingefiious  French   Lady.     [Countess 
d'Aulnoy.]     Translated  by  T.  Brown. 

387.  Modern  Novels  in  12  vol. 

See  Collections. 

388.  Murder  Will  out,  an  Impartial  Narrative  of  the  .  .  .  Life 

of  Capt.   Harrison  who  was   .  .  .  convicted  .  .  .  for 
the  Murder  of  Doctor  Clench.     (10826,  i.15.) 

389.  A    New  Discourse  of   Terra   Incognita  Australis,  or  the 

Southern  World.     By  Jacques  Sadeur,  a  Frenchman 
"who  being  wrecked  lived  thirty-five  years  in  that 
country." 
Advertised  by  Dunton. 

390.  The  Notorious  Impostor.     Issued  in  two  parts.     Reprinted 

in  1694.     {Lit.  of  R.,  p.  152.) 
It  celebrates  after  the  manner  of  the  Spanish  rogue 
romances  the  villanies  of  William  Morrell. 

391.  The  Rival  Mother;  a  late  true  history  digested  into  a  Novel. 

(1076.1.2(33).) 

392.  Taxila   or   Love   preferred   above   Duty.     A    Novel.     By 

W.  D.,  Gent.     (12614.CCC.7.) 


204 

1693 
393-  Letters  of  Love  and  Gallantry  and  several  other  subjects. 
With  the  Adventures  of  a    Young  Lady,   written  by 
Herself  in  several  Letters  to  a  Gentleman  in  the  Country. 
All  written  by  Ladies.     Translated  from  the  French. 
Volume  II  appeared  in  1694.     See  no.  336,  1686. 

394.  Love  Letters  between  a  Nobleman  and  his  Sister  [adopted 

sister]  viz.,  F. — rd  Lord  G — y  of  Werke  and  the  Lady 
Henrietta  Berkeley,  under  the  Borrowed  Names  of 
Philander  and  Silvia. 
The  compilers  of  the  Bodleian  Catalogue  attribute  this 
series  of  fifty-two  letters  to  Mrs.  Behn.  Cf.  no.  298, 
1682;  no.  584,  1728,  and  no.  627,  1734. 

395.  Memoirs  of  the  Life  of  Emeric,  Count  of  Teckely,  from  the 

French  of  Lecluc.     (G.  14952.) 
See  Ante,  no.  301,  1683,  and  no.  332,  1686. 

396.  The  Players    Tragedy;   or   Fatal  Love.     A    New   Novel. 

(Bodleian.) 

397.  The  Travels  of  Love  and  Jealousy.     A  Novel.     By  H.  C.> 

Gent. 
Advertised  by  Bentley  in  November. 

398.  Virtue  Rewarded;  or  the  Irish  Princess.     A  New  Novel. 

By  an  English  Hand.     (Bodleian.) 
Also  included  in  Mod.  Nov.,  vol.  xii. 

1694 

399.  Adventures  of  the  Helvetian  Hero:  or  Amours  of  Armadorous 

and  Vincentia,  Countess  of  Albania.  A  Novel. 
Signed  A.     (12612,  de.) 

400.  Five  Love-Letters  written  by  a  Cavalier  in  answer  to  the  five 

love-letters  written  to  him  by  a  nun  M{arianna) 
A  (Icoforado) .  Translated  from  the  Portuguese 
[French].     (1085,  b.2o(2).) 

401.  The  Unfortunate  Court  Favorities  of  England; — Galveston, 

Spencer,  Roger  Mortimer,  Stafford,  Jane  Shore,  Wool- 
sey,    Cromwell,   Essex,   Bucks,    Strafford — with   their 
amours. 
Advertised  in  November  by  N.  Crouch. 

402.  The    Unhappy  Lovers:  or,   the   Timorous   Fair  One.     A 


205 

novel.     Being  the  loves  of  Alexa7ider  and  Mellecinda. 
In  a  Letter.     (12611,  d.  6.) 

1696 

403.  Histories  and   Novels.      By   Mrs.   Aphra   Behn,  together 

with  her  Life  and  Memoirs.     (Bodleian). 
Another  edition  with  an  account  of  Mrs.  Behn  "by 
one  of  the  Fair  Sex"  was  printed  in  1705.     There 
were  other  editions  in    17 18  and    1722,   the  latter 
advertised  as  "the  seventh." 

404.  Letters,  to  which  is  added  a  letter  from  a  supposed  nun  in 

Portugal  to  a  gentleman  in  France,  in  imitation  of 
the  Nun's  five  letters  in  print,  by  Col.  Pack.      By 
Mrs.  de  la  Riviere  Manley.     (1086,  b.7.) 
Republished  in  1725  as  the  Stage-Coach  Journey. 

405.  The  Revengeful  Mistress;  being  an  amorous  adventure  of  an 

Englishman  in  Spain.     (12612,  e.) 

r697 

406.  The  History  of  the  Amours  of  the  Marshal  de  Boufflers, 

or  a  true  Account  of  his  Amours  and  Gallant  Adven- 
tures.    (Gay.) 

1698 

407.  Abra-mulie,  or  the  Secret  History  of  the  Dethronement  of 

Mahomet  the  fourth.     Written  in  French  by  Mr.  Le 
Noble  de  Tenneliere.     Made  English  by  J.  P. 
Advertised  for  Leigh  in  June. 

16991 

408.  The  Adventures  of  Covent  Garden  in  Imitation  of  Scarrons 

City  Romance. 
In  spite  of  its  announced  indebtedness  to  Scarron  it 
is   more  closely  modelled    upon   Furetiere's   Roman 
Bourgeois. 

409.  The  Adventures  of  Telemachus,  translated  by  I.  Littleton 

from  the  French  of  the  Abbe  Fenelon. 
Reprinted  in  1728  and  1742. 

1  The  History  of  Cang-Hy.  the  present  Emperor  of  China,  translated  from  the 
French  of  J.  Bouvet  (794.(1.6(1.2)).  belongs  to  the  year  1699.  This  is  not 
fiction. 


206 

410.  ^    CoUeclion  of  Pleasant   Novels,   comprising   the   Secret 

History  of  Queen  Elizabeth  and  the  Earl  of  Essex,  the 
Happy  Slave,  the  Double  Cuckold;  v.  ii,  The  Heroine 
Musqueteer  .  .  .  Incognita  .  .  .  and  The  Pilgrim. 
Advertised  for  R.  Wellington  in  June  and  November. 

411.  The  Complete  Mendicant;   or   Unhappy  Beggar.      (1414, 

C.27.) 
Often  given  to  Defoe  but  probably  not  by  him. 

412.  The  Fables  of  Pilpay  .  .  ,  containing  many  rules  for  the 

Conduct  of  Human  Life.     Translated  by  J.  Harris 

from  the  French  version  of  G.  Gaulmin  and  David 

Said.     (243,  e.8.) 
These  fables  had  already  bean  translated  in  1570  by 

Thomas  North,  as  the  M or  all  Philosophie  of  Doni 

etc. 
In  171 1,  this  version  was  reissued  with  the  Fables  of 

Aesop  as  Aesop  Naturalized. 

1700 

413.  Amours  of  Edward  IV.    An  Historical  Novel.     By  [or 

rather  incorrectly  attributed  to]  the  Author  of  the 
Turkish  Spy.     (12613,  2.) 

414.  Amusements  Serious  and  Comical  Calculated  for  the  Merid- 

ian of  London. 
Reprinted  in  the  Works  of  Thomas  Brown,  ed.  J.  Drake, 
1 707-1 708,  and  reissued  under  slightly  varying  titles 
in  1711  and  1715. 

415.  The  Diversions  of  Mars  and  Venus,  consisting  of  several 

Love  Stories  as  told  by  little  Cupid  to  divert  Venus  his 
Mother,  being  chiefly  real  Intrigues  with  some  modern 
Amours  of  Tunbridge  Wells.     (Gay.) 

416.  The  English  Nun;  a  comical  description  of  a  Nunnery. 

By  an  English  Lady. 
Advertised  in  the  term  Catalogues  of  May. 

417.  The  French  Spy:  or  the  memoirs  of  Jean  Baptiste  de  La 

Fontaine.  .  .  .  Translated  from  the  French  original. 
(10661,  bb.33.) 

418.  A   Frolic  to  Horn  Fair.     By  E.  Ward.     (T.927,   (10).) 

419.  A   Full  and  True  Account  of  the  behaviours,  confessions 


207 

last  dying  speeches  of  the  condemned  criminals  that 
were  executed  at  Tyburn.     (515,  1.2.(185).) 

420.  The  Heroine  Musqueteer;  or,  the  female  warrior,  a  true 

history  .  .  .  of  pleasant  adventures  in  the  campaigns 
of  i6y6  and  1677.     (12511,  bb.8(i).) 
Translated  from  the  French  of  Prechac,  Paris,  1677-78. 
Cf.  no.  410,  1699. 

421.  The  Pilgrim's  Progress  from   Quakerism   to  Christianity. 

Advertised  in  May  by  Francis  Bugg. 

422.  The  Reformer:  exposing  the  vices   of  the  age  in   several 

characters.     By  E.  Ward.     (7222,  58.) 

1701 

423.  The  Secret  History  of  Miss  Betty  Ireland,  her  amorous  life, 

advetitures,  and  crimes.     (Gay.) 

424.  The  Tyburn  Calendar.     (Lit.  of  R.,  p.  172.) 

425.  The  Unfortunate  Lovers:  the  History  of  Argalus  and  Par- 

thenia.     Quarles's  verse  version  turned  into    prose. 
(Quaritch.) 

426.  The  Whole  Comical  Works  of  Monsr.  Scarron.     Translated 

by  Thos.  Brown. 
Reprinted  in  1703  and  1727. 

1703 

427.  A  Banquet  for  Gentlemen  and  Ladies. 

See  Section  of  Collections. 

428.  The  London  Spy  Compleat.     By  Edward  Ward.     (12356, 

C.14.) 
Reprinted  in  1704-06-08. 

429.  The  Smoking  Age;  or  the  Life  and  Death  of  Tobacco. 

By  Richard  Brathwaite.     (1079,  i.26.(io).) 
A  coarse  satire. 

1704 

430.  The  Comical  History  of  the  Life  and  Death  of  Mumper, 

Generalissimo  of  King  Charles  IPs  Dogs.  By  Helio- 
tropolis,  secretary  to  the  Emperor  of  the  Moon. 
Advertised  in  Defoe's  i?mew  and  in  the  term  Catalogues 
for  June,  but  it  is  doubtful,  according  to  Professor 
Trent,  whether  Defoe  wrote  it  although  it  has  been 
attributed  to  him. 


208 

431-  Dialogues  de  M.  le  Baron  de  La  Ilontan:  et  d'un  Sauvage. 
(1052,  d.8.) 
Reprinted  in  1728  as  Suite  du  Voyage  de  VAmerigue  ou 
Dialogues,  etc. 

432.  A  Full  and  True  Account  of  the  discovering  .  .  .  and  taking 

of   S.  Griffith  a  notorious  witch,  etc.     (sh   512,   1.2. 

(I99-) 

433.  An  Historical  Account  of  the  Sufferings  and  Death  of  the 

Faithful.  .  .  .  by  Isaac  Le  Fhre  i^i  the  French  King's 
Galleys  etc. 
Advertised  in  May  for  T.  Bennet. 

1705 

434.  Cassandra  and  Others  of  the  Sex. 

Advertised  in  May  in  the  T.  C.     See  Upham  p.  397n. 

435.  The  Consolidator,  or  memoirs  of  sundry  transactions  from 

the  world  in  the  moon.  .  .  .  By  the  author  of  the 
True-born  Englishman.     D,  Defoe.     (G.  13507.) 

436.  The  Secret  History  of  Queen  Zarah  and  the  Zarazians. 

Probably  by  Mrs.  Manley. 
There  were  other  editions  in   1709  and   171 1   and  a 
French  translation  in  1708. 

1706 

437 .  ^  Continuation  of  the  Comical  History  of  the  most  Ingenuous 

Knight,  Don  Quixote  de  la  Mancha.     By  the  Licenti- 
ate Alonzo  Fernandes  de  Avellaneda.     Being  a  third 
volume  never  before  printed  in  English. 
Translated   by   Capt.   John  Stevens.     (Bodleian.) 

438.  Female  Falsehood;  being  the  amorous  memoirs   of  a  late 

French  nobleman.  Written  by  himself  .  .  .  and  di- 
gested by  [Marguetel  de  Saint-Denis,  seigneur  de] 
St.  Evremont.  Second  edition  with  part  II.  (125 10, 
d.7.) 

439.  Miracles  of  the  Age  .  .  .  being  a  full  and  true  relation, 

.  .  .  of  a  young  woman  that  lived  ten  weeks  and  two 
days  in  a  trance,  without  eating.  Shrewsbury,  1706? 
(697,  b.46.) 

440.  Secret  Memoirs  of  Robert  Dudley,  Earl  of  Leicester.    Written 


209 

during  his  life  and  now  published  from  an  old  Manu- 
script never  before  printed.  4  vols.  (Col.  820.  8.C.68.) 
This  lively,  but  not  very  edifying,  account  of  the  Earl  is 
supposed  to  be  told  by  an  intimate  friend  to  some 
younger  men  who  either  did  not  know  Leicester  or 
were  only  slightly  acquainted  with  him. 

44 1 .  yl  True  A  ccount  of  the  Apparition  of  Mrs.  Veal  that  appeared 

the  next  day  after  her  Death  to  .  .  .  Mrs.  Bargrave  etc. 
By  Daniel  Defoe. 

1707 

442.  The  Comical  Bargain  or  Trick  upon  Trick;  being  a  pleasant 

and  true  relation  of  one   Thomas  Brocks,  a  baker's 
apprentice  near  Milk  Street,  that  went  for  a  Hamburg 
merchant,   and   courted  an  eminent  doctor's  daughter 
near  King  Street  in  Bloomsbury.     (11631,  aaa.) 
A  broad-side. 

443.  The    Diverting    Works  of    (Marie  Catharine  LaMothe) 

Countess  d'Aulnoy. 

Memoirs  of  her  own  life.     (12236,  bb.) 

All  her  Spanish  novels  and  histories,  i.  e.,  Marquis  of 
Lemos  and  Dona  Eleonora  of  Montelon,  Dona 
Eugena  of  St.  Angelo,  Marquis  of  Leyva,  Dona 
Camella  D'Arellano,  Hortense  of  Ventmiglia,  Marquis 
of  Mansera  and  Dona  Teresa  of  Castro. 

Her  Letters. 

Tales  of  the  Fairies. 

444.  The  Novels  of  Don  Quevedo  Villegas,  Knight  of  the  Order 

of  St.  James,  faithfully  Englished;  ivhereunto  is  added 
the  ''Marriage  of  Belphegor,  an  Italian  novel,  trans- 
lated from  Machiavel.  {R.  of  R.)  Cf.  1665  under 
La  Picara. 

Advertised  in  February  by  John  Startsey. 

Includes,  The  Spanish  Libertines,  Lives  of  Justina, 
Celestina,  and  Estevanillo  Gonzalez. 

445.  The  Pleasant  History  of  Taffy's  Progress  to  London. 

Advertised  in  March  for  F.  Thorn. 

This  is  probably  similar  to  the  doggerel  satire  the  Welch 

Traveller  by  Humphrey  Crouch,  1657.     See  Lit.  of  R., 

I.  209. 
15 


210 

i7o8 

446.  An  Account  oj  Some  Remarkable  Passages  in  the  life  oj  a 

Private  Gentleman,  etc.     (859,  h.26.) 
A  morbid  account  of  religious  experiences  erroneously 

assigned  to  Defoe. 
Reprinted  in  171 1. 

447.  Almira:  or,  the  History  of  a   French  Lady  of  Distinction 

Interspersed  with  the  Histories  of  the  Marquis  de 
Montalvan  and  Isabella:  Lindamira,  or  the  Belle 
Espagnole.     (Bodleian.) 

448.  The  French  King's   Wedding;  or,  the  royal  frolick  .  .  . 

surprising  marriage  ceremonies  of  Madam  de  Main- 
tenon  with  Lewis  XIV?     (1076,  h.22(2).) 

449.  Hypolitus,  Earl  of  Douglas.     Containing  some  memoirs 

of  the  Court  of  Scotland,  with  the  Secret  History  of 
Mack-beth  King  of  Scotland.  [Translated  from  the 
French  of  M.  C.  de  La  Mothe,  Countess  d'Aulnoy] 
To  which  is  added  the  Amours  of  Count  Schlick  .  .  . 
and  a  young  lady  of  Quality.  [A  translation  of 
Eurialus  and  Lucretia  by  Aeneas  Sylvius  etc.]  3  pts. 
(12510,  d.9.) 

450.  Turkish    Tales;   consisting   of  several   extraordinary  Ad- 

ventures .  .  .  now  done  into  English. 
Another  version,  Persian  and  Turkish  Tales  Compleat 
in  1714.     (I25i3.b) 

1709 

451.  The  Constant  but  Unhappy  Lovers,     (sh.1076,  1.22(33).) 

This  is  bound  in  a  volume  with  other  pamphlets,  the 
general  title  page  of  which  advertises  Robinson 
Crusoe  and  must  obviously,  therefore,  be  as  late  as 
1 7 19.  Still  the  individual  pamphlets  may  be  older 
and  this  may  well  date  from  1709. 

It  is  a  very  brief  tale  of  a  girl  who  died  of  grief  when 
she  discovered  that  she  had  eaten  her  lover's  heart. 

452.  The  Distressed  Child  in  the  Wood;  or  the  Cruel   Unkle: 

being  a  true  relation  of  one  Esq.  Solmes  .  .  .  who 
dying  left  an  only  daughter  to  the  care  of  his  own  brother 
etc.     (1076,  1.22(39).) 


211 

453-  The  Island  of  Content;  or,  a  new  paradise  discovered  in  a 
letter  from  Dr.  Merryman  of  the  same  country  to  Dr. 
Didlman  of  Great  Britain.  By  the  authors  of  the 
''Pleasures  of  a  single  life.''     (12316,  cc.3o(i).) 

454.  The  King  of  Pirates,   being  an  account  of  the  famojis 

Captain  Avery,  the  Mock  King  of  Madagascar.  .  .  . 
Written  by  a  Person  who  made  his  Escape  from  thence. 
(1204.  C.5.) 

455.  Love  in  a  Passion  without  Discretion,  or,  the  young  mer- 

chant's sudden  bargain  and  the  cook-maid' s  happy 
fortune.     (1076,  1.22(43).) 

456.  The  Love  Lottery,  or,  a  Woman  the  prize.     Being  a  pleasant 

new  invention.  The  second  edition  with  large  ad- 
ditions.    (1076.  1.22(33).) 

457.  The  Mall:  or,  the  reigning  beauties.     Containing  the  .  .  . 

intrigues  of  Miss  Cloudy  and  her  gouvernante  Madam 
A.     (11631,  aaa.) 

458.  Memoirs  of  the  Life  and  Adventures  of  Signor  Rozelli  .  .  . 

done  into  English  [by  D.  Defoe?]  from  the  second 
edition  of  the  French  of  the  Abbe  OHvier  [Paris, 
1708].     2  vols.     (G.13510,  II.) 

1713  appeared  a  second  edition,  corrected,  2  vols,  with 
an  appendix.     (G.13512.) 

There  were  two  continuations  in  French,  one  in  17 19 
and  one  in  1722,  both  of  which  were  translated. 
There  was,  in  addition,  a  third  continuation  in 
English,  for  which  no  French  original  has  been  found, 
which  is  sometimes  attributed  to  Defoe. 

459.  The  Secret  Memoirs  of  .  .  .  Several  Persons  of  Quality 

.  .  .  from    the    New  Atalantis.     By    Mrs.    Manley. 
(io8i,m.2.) 
Reprints  in  1720,  1730,  etc. 

1710 

460.  A  Brief  and  Merry  History  of  Great  Britain,  containing 

an  Account  of  the  religion,  customs  .  .  .  of  the  people, 
written  originally  in  Arabick  by  Alt  Mohammed  Hadji 
.  .  .  Faithfully  rendered  into  English  by  A.  Hillier. 
There  was  another  edition  in  1730.     (Conant.) 


212 

^6i.  A  Dialogue  between  Dick  Brazenface  the  Card-maker  and 
Tim  Meanwell  the  Clothier:  being  a  dispute  between 
the  card-maker  and  the  clothier  fairly  stated.  By 
D.  Brazenface  (pseud.).     (8i6.  m.i4.(59).) 

462.  Look  ere  you  Leap:  or  a  History  of  the  Lives  and  Intrigues 

of  lewd  Women  .  .  .  To  which  is  added  the  character 
of  a  good  woman.     Tenth  edition.     (12331,  a. 22.) 

463.  Memoirs  of  Europe  towards  the  Close  of  the  Eighth  Century. 

Writte?t    by   Eginhardus,    Secretary   and    Favorite  to 
Charlemagne.     By  Mrs.  Manley.     (636.d. 11,12.) 

1711 

464.  An  Account  of  the  Life  and  Death,  Parentage  and  Con- 

versation of  Mr.  J.  A.  [John  Addison],  a  most  notorious 
highwayman.     (1076,  1.26(6).) 

465.  Atalantis  Major.     Printed  in  Olrecky,  the  Chief  City  of 

the  Northern  Part  of  Atalantis  Major.     By  D.  Defoe? 
A  poHtical  prose  satire. 

466.  Court  Intrigues;  or  a  collection  of  original  Letters  from  the 

Island   of   New   Atalantis.     By   the   author   of  these 
Memoirs  (Mrs.  Manley).     (636.  d.io.) 

467.  The  Description  of  Epsom,  with  the  humors  and  politicks 

of  the  place.      In  a  letter  to  Eudoxia.      (By  Britto 
Batavus  [J.  Toland]).     (1302,  f.) 

468.  The  London-Bawd    with   her   Character    and    Life,   dis- 

covering  the   various   and   subtile   intrigues   of  Lewd 
Women.     Fourth  edition.     (Gay.) 

469.  The  Whole  Life,  character  and  conversation  of  that  foolish 

creature  called  Granny.     (1076,  1.26.(8).) 
A  coarse  journalistic  narrative. 

1712 

470.  Arabian  Nights  Entertainment;  consisting  of  One  Thousand 

and  One  Stories  told  by  the  Sultaness  of  the  Indies  to 
divert  the  Sultan  from  the  Execution  of  a  Bloody 
Vow.  Translated  from  the  French  from  the  Arabian 
MSS.  by  M.  Galland  .  .  .  and  now  done  into  English 
from  the  Edition  in  French. 
Advertised  in  1708,  but  the  oldest  known  edition  is  the 
second,  of  1712;  fourth  edition  1713. 


213 

471-  -4  Companion  for  the  Ladies  Closets:  or,  the  life  and  death 
oj  the  most  excellent  Lady.     (4202.aaa.i.) 
The  B.  M.  Catalogue  has  the  note  "By  A.  B.    {i.  e., 
Aphra  Behn?" 

472.  The  Highland  Visions;  or,  the  Scots  new  Prophecy,  etc. 

London?     (114,  g.36.)^ 

1713 

473.  The  Lover's  Secretary;  or.  Adventures  of  Lindamira  in 

twenty-four  letters. 
Advertised  in  May  in  the  T.  C.  but  no  edition  earlier 
than    the   2d,    1715    "Revised   by    T.    Brown,"    is 
known.     (i26ii.df.25(i).)     There  was   a  third  edi- 
tion in  1734. 

17142 

474.  The  Adventures  of  Rivella;  or  the  history  of  the  Author  of 

the  Atalantis  .  .  .  Delivered  in  a  conversation  to  the 
young  Chevalier  D'Aumont  .  .  .  by  Sir  Charles  Love- 
more.  Done  into  English  from  the  Fr.  (1419,  f.23.) 
The  fourth  edition  appeared  in  1724  as  Mrs.  Manley's 
History  of  Her  Life  and  Times. 

475.  Complete  History  of  the  Lives  and  Robberies  of  the  most 

notorious  Highwaymen.     By  Alexander  Smith.     (Lit. 
of  R.,  i.  209.) 
Fifth  edition  in  1719  and  a  new  volume  in  1720. 

476.  Love  Letters  from  Henry  VIII  to  Anne  Buleyn,  with  two 

from  Anne  Buleyn  to  Cardinal  Wolsey,  and  her  last  to 
Henry  VIII.  {Cat.  Old  Eng.  Lit.,  Russel  Smith, 
no.  72.) 

477.  The  Memoirs  of  Gamesters.     By  Theophilus  Lucas.     {Lit. 

of  R.,  i.  171.) 

»The  first  tract  in  this  series  appeared  in  April,  1711  under  the  title  "The 
British  Visions:  or,  Isaac  Bickerstafif's  Twelve  Prophecies  for  the  Year  1711." 
The  item  given  above  was  the  second  and  appeared  in  March.  171 2.  In  Feb- 
ruary, 1713  the  series  was  continued  with  "The  Second-Sighted  Highlander, 
etc.,"  and  a  skit  under  this  same  title  appeared  in  1715.  but  no  tract  for  1714 
has  yet  been  found.  There  is  ample  evidence,  both  external  and  internal,  to 
show  that  Defoe  was  responsible  for  the  entire  series. 

2  In  its  number  for  July  14, 1714  the  British  Mercury  (a  fire  insurance  organ) 
began  printing  as  a  serial  a  story  entitled  The  Rover.  This  disposes  of  the  no- 
tion that  Robinson  Crusoe  was  the  first  English  serial. 


214 

478.  The  Persian  and  Turkish  Tales,  compleat,  tr.  formerly 
from  those  languages  into  French  [or  rather  compiledl 
by  M.  Petis  dela  Croix  {assisted  byA.R.  Le  Sage)  and 
now  translated  into  English  by  Dr.  King  and  several 
other  hands.  (12513,  b.37.) 
Reprinted  in  1722  as  The  Thousa7id  and  One  Days  by 
Mr.  Phillips. 

1715 
/^■j().  Amours  of  Bosvil  and  Galesia.     A  novel.     By  Mrs.  Barker. 
Advertised  for  Curll  in  Exilius  2d.  edition. 
Reprinted  in  Entertaining  Novels  of  Airs.  B.,  1736. 

480.  The  Dean  of  Killerine.     Translated  from  the  French  of 

Prevost.     (Gay.) 
Reprinted,  1780. 

481.  Exilius:  or  the  Banished  Roman.     A  new  romance  .  .  . 

written  after  the  manner  of  Telemachus.     By  Mrs. 
Jane  Barker  of  Wilsthorpe.     (012611,  h.25.) 
In  1736,  2d  ed.  in  Entertaining  Novels  of  Mrs.  B  (625, 
c.  45),  and  in  1743  another  ed.  of  the  latter.     (12611, 
c.) 

482.  The  Family  Instructor  in  Three  Parts.     I,  Relating  to 

Fathers  and  Children.     II,  to  Masters  and  Servants. 

Ill,  To  Husbands  and  Wives.    By  Way  of  a  Dialogue. 

By  Daniel  Defoe. 
Reprinted  in  17 15,  1720  the  eighth  edition,  1766  the 

sixteenth. 
In  1 7 18,    Defoe  published  the  second  volume  of  the 

work  and  in  1727  he  issued  The  New  Family  Instructor. 

483.  History  of  the  Wars  of  his  Present  Majesty  Charles  XII. 

.  .  .  By  a  Scots  Gentleman  in  the  Swedish  Service. 
By  D.  Defoe.     A  continuation  appeared  in  1720. 

484.  Secret  History  of  the  Loves  of  the  most  Celebrated  Beauties, 

Ladies  of  Quality  and  Jilts  from  fair  Rosamond  down 
to  the  present  day.  By  Alexander  Smith.  {Lit.  of 
R.,  i.  176.) 

1716 

485.  The   Generous   Rivals;   or,   Love    Triumphant.     A    novel. 

486.  Secret   Memoirs   of  Bar-le-duc   [Court  of   Prince   James 


215 

Edward  Stuart)  from  the  death  of  Queen  Anne]. 
DubHn,  1716.     (12314,  aaa.i.) 

1717 

487.  A  Short  Narrative  of  the  Life  and  Death  of  John  Rheinholdt, 

Count  Patkul,  a  Nobleman  of  Livonia,  etc.     Faithfully 
translated  .  .  .  by  L.  M.     The  second  edition. 
Advertised  in  April  for  T.  Goodwin. * 

17182 

488.  The  Christiayi  Pilgrimage  .  .  .  of  Salignac  de  la  Mothe 

Fenelon.     Translated  by  Mrs.  Jane  Barker. 

489.  The  Double  Captive;  or  Chains  upon  chains,  containing 

the  amorous  poems  and  letters  of  a  young  gentleman, 
one  of  the  Preston  prisoners  in  Newgate.  To  which 
is  added  the  execution  dream,  with  a  preface  to  the  ladies 
and  an  introductory  novel.     (1078,  1.31.) 

1719 

490.  The  Dumb  Philosopher ;  or  Great  Britain's  Wonder.     By 

D.  Defoe. 

491 .  Familiar  Letters  of  Love  and  Gallantry  for  several  occasions 

by  the  wits  of  the  last  and  the  present  age,  from  the 
originals,   together  with    T.   Brown's   remains,   being 
Letters  and  Dialogues  not  printed  in  his  works.    2  vols. 
(99,  a.20.) 
In  1724  appeared  the  sixth  edition,  corrected. 

492.  The  Female  Deserters.     A  Novel.     By  the  Author  of  the 

Lover's  Week   [that  is   F.  Moliere].     (12330,  cc.ii.) 

The  Lover's  Week,  Hanover  Tales,  Milesian  Tales,  The 

Spanish  Polecat  (cf.  ante,  1665  under  La  Picara),  are 

all  advertised  by  J.  Roberts  in  the  Female  Deserters. 

493.  The  History  of  the  Siege  of  Toulon  by  Doymeau  de  Vise. 

Done  into  English  by  Mr.  Boyer.     (614,  h.2.) 

494.  The  Life  and  Strange  Surprising  Adventures  of  Robinson 

Crusoe  of  York,  mariner.     By  D.  Defoe. 

1  This  tract  was  given  by  Lee  to  Defoe,  but  it  is  really  by  Lord  Molesworth. 

*To  this  year  (August)  belongs  "A  Continuation  of  Letters  written  by  a 
Turkish  Spy  at  Paris,  etc.,"  assigned  with  much  plausibility  by  James  Crossley 
to  Defoe. 


216 

1719.  the  two  parts;  1719  3d  ed.  of  pt.  i ;  1719,  4th  ed., 
with  map;  17 19,  Farther  Adventures;  1722,  fourth 
edition;  1726,  fifth  edition;  1726,  pts  i  and  2;  17 19, 
abridged;  1726,  abridged;  1730?  abridged. 

495.  Some  Account  of  the  Life,  and  Most  Remarkable  Actions 

of  George  Henry,  Baron  de  Goertz,  Privy-Counsellor 
and  Chief  Minister  of  State,  to  the  late  King  of  Sweden. 
This  biographical  tract,  which  seems  to  be  clearly  by 
Defoe,  appeared  in  July,  1719. 

1720 

496.  The  Chronicle  of  Tyburn.     {Lit.  of  R.,  i.  178.) 

497.  The  History  of  the  Life  and  Adventures  of  Mr.  Duncan 

Campbell.  By  D.  Defoe.  (G.  13537.) 
In  the  same  year  was  issued  a  corrected  edition,  and 
in  1728  the  third  edition  appeared  as  The  Supernatural 
Philosopher  with  the  name  of  William  Bond  as  the 
author.  Mrs.  Haywood  and  not  Defoe  was  probably 
the  author  of  some  of  the  later  Campbell  pamphlets, 
but  the  latter  probably  wrote  The  Friendly  Daemon 
of  1726  and  he  may  have  had  a  hand  in  the  Secret 
Memoirs  of  Campbell  of  1732. 

498.  The  King  of  Pirates,  being  an  account  of  the  enterprises  of 

Captain  Avery.  In  two  letters  from  himself.  By 
D.  Defoe.  Really  published  at  the  end  of  17 19,  with 
a  second  edition  of  1720.     (Lee.)     (518,  f.29.) 

499.  The  Life,  Adventures,  and  Pyracies  of  the  famous  Captain 

Singleton,  containing  an  account  of  his  being  set  ashore 
in  the  island  of  Madagascar  as  also  of  his  many  ad- 
ventures and  pyracies  with  the  famous  Captain  Avery 
and  others.     By  D.  Defoe.     (838.  c.8.) 
In  1737,  the  second  edition. 

500.  Love's  Academy,     Containing  many  pleasant  and  delightful 

novels.     (12614,  ee.i6.) 
"The  Ladies  or  Gentlemen  that  are  willing  to  record 
adventures  in  this  academy,  of  their  own  or  others, 
are  desired  to  send  them  forthwith  to  the  Undertaker, 
B.  Lintott." 

501.  The  Most  Lamentable  and  Deplorable  History  of  the  two 


217 

children  in  the  wood.  .  .  .  To  which  is  annexed   the 

old  song  upon  the  same.     (12612,  d.) 

A  chapbook. 

1720^ 

502.  The  Perfidious  Brethren;  or  the  Religious   Triumvirate: 

displayed  in  three  Ecclesiastical  novels.  (Bod.  G. 
Pamph.,  1852.) 

503.  The  Power  of  Love  in  Seven  Novels,  viz.,  I,  The  Fair  Hypo- 

crite; II,  the  Physician's  Stratagem;  III,  The  Wife's 
Resentment;  IV-V,  The  Husband's  Resentment  in 
two  examples;  VI,  The  Happy  Fugitives,  VII,  The 
Perjur'd   Beauty,     By   Mrs.    Manley.     (636,   d.13.) 

1721 

504.  The  Fortunes  and  Misfortunes  of  the  famous  Moll  Flanders, 

etc.     By  D.  Defoe.     (G.  I3539-) 
In  1722,  the  third  edition. 

505.  The  History  of  Hypatia,  a  most  impudent  school-mistress 

of  Alexandria.     (699,  d.  14(5).) 
Not  a  novel  but  a  news  sheet. 

506.  Ildegerte,  queen  of  Norway;  or,  Heroick  Love,  a  novel. 

Written  originally  in  French  by  the  author  of  the 
Happy  Slave  (rather  by  E.  Le  Noble  de  Tenneliere 
Baron  de  Saint  George)  and  tr.  into  Eng.  by  a  ge^itle- 
man  of  Oxford.  2  pts.  (12511,  f.i5-) 
In  1721-22,  second  edition.  2  pts.  (12510,  e.20.) 
The  Happy  Slave  was  written  by  Bremond  but  there 
seems  no  reason  for  assigning  Ildegerte  to  him. 

507.  The  Life  of  Mme.  de  Beaumont,  a  French  Lady,  who  lived 

in  a  cave  in  Wales  above  fourteen  years  undiscovered. 
.  .  .Also  her  Lord's  adventures  in  Muscovy.  By 
Penelope  Aubin.     (12613,  a.) 

508.  Love  in  its  Empire,  illustrated  in  Seven  Novels.     By  P. 

Chamberlayne.     (Bodleian,  authority  of  Gay.) 

509.  The  Secret  History  of  the  Prince  of  the  Nazarenes  and  two 

Turks.     Third  edition.     (Bodleian.) 
One  of  the  grossest  and  least  interesting  of  the  secret 
histories. 

»On  April  13,  1720  the  Daily  Post  advertized  The  Life  and  Slrange  Surpriz- 
ing Adventures  of  Major  Alexander  Rankin. 


218 

510.  The  Strange  A dventures  of  the  Count  Vinevil  and  his  family. 

Being  an  account  of  what  happened  to  them  whilst  they 
resided  at  Constantinople.    By  P.  Aubin.    (12604,  bb.) 

1722' 

511.  The  British  Recluse,  or  the  Secret  History  of  Cleomira 

supposed  Dead.     By  Eliza  Haywood.     Third  edition. 
There  was  a  fourth  edition  printed  in  Dublin  in  1724, 
and  a  fifth  in  London,  in  1725. 

512.  The  Comical  Pilgrim;  or,  the  travels  of  a  cynick  philosopher 

thro'  the  most  wicked  parts  of  the  world,  namely  England, 
Wales,  etc.     Attributed,  but  in  all  probability  erro- 
neously, to  D,  Defoe.     (G. 13540.) 
It  was  first  published  in  November,  1722  and  speedily 
reached  a  fourth  edition. 

513.  Due  Preparations  for  the  Plague.     By  D.  Defoe. 

514.  The  False  Duchess,  translated  from  the  French. 

In  Sel.  Col.  Nov.,  vol.  vi. 

515.  The  History  and  Remarkable  Life  of  the  truly  Honourable 

Colonel  Jacgue.     By  D.  Defoe.^ 
Other  editions  in  1723,  1724,  etc. 

516.  The  History  of  Genghizcan  [by  Petits  de  la  Croix] .     Trans- 

lated by  Penelope  Aubin.     (147,  a.  10.) 

517.  The  History  of  Leonora  Cespedes  and  Count  de  Belflor. 

Written  originally  in  French.  In  Sel.  Col.  Nov.,  vol. 
iii,  and  also  in  a  Col.  of  Nov.,  ed.  by  Mrs.  E.  Grif- 
fiths, 1777. 

518.  The  Innocent  Adultery  tr.  from  the  French  [of  Scarron?]. 

In  Sel.  Col.  Nov.,  vol.  iv. 

519.  A  Journal  of  the  Plague  Year.     By  Daniel  Defoe. 

Often  reprinted. 

520.  The  Life  and  Actions  of  Lewis  Dominique   Cartouche. 

A  translation  attibuted  to  D.  Defoe,  but  apparently 
with  little  reason. 

'The  Flying  Post  for  July  28,  1722  advertized  "The  Life  and  Surprizing 
Adventures  of  Don  Juliana  de  Tiizz,  who  was  Educated  b^'  a  Roe,  and  Hved 
Forty  Five  Years  in  the  Island  of  Malpa,  an  Uninhabited  Island  in  the  East 
Indies.  Translated  from  the  Portuguese."  This  curiosity  of  literature  could 
be  had  from  Thomas  Warner  for  one  shilling,  but  it  has  escaped  recent  search. 

2  Some  doubt  has  been  thrown  on  the  existence  of  any  copy  bearing  the 
date  1722. 


219 

521.  The  Noble  Slaves;  or  the  Lives  and  Adventures  of  two  lords 

and  two  ladies  who  were  ship-wrecked.     By  Penelope 
Aubin.     (12511.C.C.) 
Another  edition  was  issued  in  Dublin  in  1730?  and  in 
1777  it  was  included  by  Mrs.  Griffiths  in  Sel.  Col. 
of  Nov. 

522.  Religious  Courtship.     By  D.  Defoe. 

Reprinted   in    1729,   1735   4th    ed.,   1737,   1750,   1762, 

1770,  1793- 

523.  Select  Collection  of  Novels. — See  Collections. 

524.  The  Travels  and  Adventures  of  three  Princes  of  Sarendip. 

Interspersed  with  eight  delightful  and  entertaining 
novels  translated  from  the  Persian  [or  rather  the  Italian 
of  Chr.  Armento]  into  French  and  thence  into  English. 
(Conant.) 

1723 

525.  Comical  and  Tragical  History  of  the  Lives  and  Adventures 

of  the  most  noted  Bayliffs.     By  Alex.  Smith.     (12314. 

f.7.) 
Third  edition  1783. 

526.  The  Highland  Rogue;  or  the  memorable  actions  of  the  cele- 

brated R.  MacGregor,  commonly  called  Rob  Roy.  D. 
Defoe.     (10825,  c.) 

527.  The   History   of  John   of  Bourbon,   Prince   of   Carency. 

Containing  a  variety  of  entertaining  novels,  written 
in  French.     Translated  into  English. 

The  second  edition.     (12511,  f.  17.) 

The  novels  are  ten  in  number  viz.: — The  Surprize  or 
the  Generous  Unknown;  The  Mutual  Mistake  or 
Unhappy  Discovery;  The  Secret  Rival  or  Deceitful 
Friend;  The  Perfidious  Lady  or  the  Fatal  Resent- 
ment; The  Unfortunate  Lover;  The  Female  Captives; 
The  Distressed  Lovers;  The  Revengeful  Rival;  The 
Happy  Meeting,  or,  Constant  Love  Rewarded. 

As  the  titles  indicate  these  are  all  stories  of  the  cloak 
and  sword  variety  in  which  the  changes  are  rung  on 
crossed  loves,  lovelorn  damsels,  gentlemen  pirates, 
kidnappings,  the  miseries  of  slavery,  amorous  Moors, 
and  the  like. 


220 

528.  Idalia;  or,  The  Unjortunate  Mistress.     A  novel.     By  Mrs. 

Haywood.     (12614,  d.i.) 
Reprinted  with  the  addition  of  a  third  part  in  her 
collected  works  and  translated  into  French  in  1770. 
(Gay.) 

529.  An  Impartial  History  of  the  Life  and  Actions  of  Peter 

Alexowitz,  the  present  Czar  of  Muscovy,  etc.  Attrib- 
buted  to  D.  Defoe. 

530.  The  Life  and  adventures  of  Pedrillo  del  Campo  intermixed 

with  several  entertaining  and  delightful  novels.  Trans- 
lated into  English  by  Ralph  Brookes.     (12490,  aaa.12.) 

531.  The  Lives  and  Amours  of  the  Empresses,  consorts  to  the 

first  twelve  Caesars  of  Rome.  .  .  .  Translated  by  G. 
James  [from  the  French  of  Jacques  Roergas  de  Ser- 
viez].     (10605,  CIO.) 

532.  Love  in  Excess,  or  The  Fatal  Enquiry;  a  Novel  in  Three 

Parts.     By  Eliza  Haywood. 
There  was  a  sixth  edition  in  1725. 

533.  The  Loves  of  Osmin  and  Doraxa  [from  Guzman  de  Al- 

farache]  with  the  Novelas  of  Cervantes. 
Advertised  in  Sel.  Col.  Nov. 

534.  The  Patchwork  Screen  for  the  Ladies;  or.  Love  and  Virtue 

recommended  in  a  collection  of  instructive  novels. 
By  Mrs.  Jane  Barker.     (1079,  d.13.) 

535.  The  Unhappy  Loves  of  Herod  and  Mariamne  introductory 

to  Mr.  Fenton's  new  tragedy.     (641,  e. 28.(1).) 

1724 

536.  The  Arragonian  Queen,  a  secret  history.     (Pickering  & 

Chatto  Cat.     Pt.  M.) 

537.  Female  Grievances  Debated.     Fourth  edition.     (8415,  b. 

15.) 

538.  The  Fortunate  Mistress;  or  a  History  of  the  Life  of  Mile. 

de  Beleau  afterwards  calVd  the  Countess  of  Wintsel- 
sheim.  .  .  .  Being  the  Person  known  by  the  name  of 
Lady  Roxana.     By  D.  Defoe.     (G.  13737.) 

Reissued  in  1740  and  often  thereafter. 

Revised  by  Noble  in  1775. 

539.  The  History  of  the  Remarkable  Life  of  John  Sheppard. 

By  D.  Defoe. 


221 

Issued  three  times  in  that  year.  Lee  also  assigns  to 
Defoe  A  Narrative  of  all  the  Robberies,  Escapes,  etc. 
of  John  Sheppard,  which  went  through  7  editions  in 
November  and  December,  1724. 

540.  The  Injured  Husband,  or  the  Mistaken  Resentment.     By 

Mrs.  Haywood.     Dublin.     (D.N.B.) 

541.  Lasselia;   or,    the   Self -abandoned.     A    novel.     By    Mrs. 

Haywood.     Second  edition.     (12613,  c.(i).) 

542.  Letters  of  a  Lady  of  Quality  to  a  Chevalier.     By  Eliza 

Haywood.     {D.  N.  B.) 

543.  A  New   Voyage  Round  the  World,  by  a  course  never  sailed 

before  tindertaken  by  some  merchants  who  afterward 
proposed  the  setting  up  of  an  East  Indian  Company 
in    Flanders.      By    D.    Defoe.      2   pts.      (838,   c.4.) 

544.  The  Rash  Resolve;  or,  the  untimely  discovery.     A   novel. 

By  Eliza  Haywood.     Second  edition.     (12613,  c.(2).) 

545.  The  Reformed  Coquette.     A  Novel.     By  Mrs.  Mary  Davys. 

(12604,  aaa.) 
Dublin,  1735,  a  second  edition. 

17251 

546.  An  Account  of  the  Conduct  .  .  .  of  the  late  J.  Cow  alias 

Smith,  captain  of  the  late  pirates  executed.  ...  By 
D.  Defoe.     (518,  c.4.) 

547.  The  Amorous  Bugbears;  or,  The  humours  of  a  masquerade 

Intended  as  a  supplement  to  the  London-Spy.  (11644, 
g-36(i).) 

548.  Bajazet;  or  the  Imprudent  Favorite,  in  Five  Novels  trans- 

lated from  the  French  of  J.  Regnauld  de  Segrais 
(Conant.) 

549.  Bath-Intrigues;  in  a   Collection  of  Original  Letters  to  a 

Friend  in  London.  [Signed  J.  B.  i.  e.  Mrs.  Manley?] 
(1080,  i.42.) 

550.  Chinese  tales,  or  the  Wonderful  Adventures  of  the  Mandarin 

Fum-IIoam  translated  from  the  French  [of  T.  S. 
Guenlette]. 

iTo  this  year  belongs  Mrs.  Haywood's  translation  of  La  Belle  Assemblie; 
a  curious  collection  of  some  remarkable  incidents  which  happened  to  Persons  of 
Quality  from  the  French  of  Mme.  de  Gomez.  (12512.  c.)  There  were  other 
editions  in  1728  and  1736-35- 


Another  translation  as  Mogul  talcs,  1736,  second  edition, 
1743.     (Conant.) 

551.  The  Fatal  Secret.     By  Eliza  Haywood.     Third  edition. 

{D.  N.  B.) 

552.  Fantomima,  or  Love  in  a  Maze.     By  Eliza   Haywood. 

{D.  N.  B.) 

553.  The  Lady's  Philosopher' s  Stone:  or,  the  Caprices  of  Love 

and  Destiny.  An  historical  Novel.  Written  in  French 
by  M.  VAhbe  de  Costero  and  now  translated  into 
English.     (Pickering  and  Chatto,  Cat.  H.) 

554.  Love  upon  Tick:  or,  implicit  gallantry  exemplified.     Third 

edition  with  additions.     (1132  c.44.) 

555.  Mary  Stuart,  Queen  of  Scots,  being  the  Secret  History  of 

her  Life  and  the  real  causes  of  her  misfortunes. 
Translated  from  the  French  [by  Eliza  Haywood]. 
A  second  edition  appeared  in  1726.     (Col.  M1.M366.) 

556.  The  Matchless  Rogue,  or  an  account  of  the  contrivances, 

cheats,  stratagems  and  amours  of  T.  M.  to  the  hour  of 
his  exit  at  Newgate.     (1417,  e.9.) 

557.  Memoirs  of  the  Baron  de  Brosse  .  .  .  containing  an  account 

of  his  Amours.     (Gay.) 

558.  Memoirs  of  a  certain  Island  adjacent  to  the  Kingdom  of 

Utopia.      By  Mrs.   Haywood.     2  vols.     (12613  g.) 

559.  Mrs.  Manley's  History  of  her  Life  and  Times.     See  Life 

of  Rivella,  no.  475,  1714. 

560.  Secret   Histories,    Novels,    and   Poems    written    by    Mrs. 

Eliza  Haywood.     Second  edition.     4  vols.     (12612, 

ee.) 
This  seems  to  be  a  reprint  of  a  1724  edition.     There 

was  also  a  shorter  collection  published  in  2  vols. 

in  1725.     The  longer  edition  was  reprinted  in  1732. 
The  following  tales  are  included: 

Fantomima;  or  Love  in  a  Maze.  Being  a  Secret 
History  of  an  Amour  between  two  Persons  of 
Condition. 

The  British  Recluse. 

Idalia — In  three  parts. 

The  Injured  Husband,  or  the  Mistaken  Resentment. 

Lasselia,  or  the  Self-abandoned. 


223 

The  Rash  Resolve. 

The  Fatal  Secret:  or  Constancy  in  Distress. 

561.  A  Stage-coach  Journey  to  Exeter,  describing  the  humours 

of  the  road,  with  the  characters  of  the  Company.  In 
eight  Letters  to  a  Friend.  By  Mrs.  Manley.  [See 
no.  405,  1696.] 

562.  The  Surprise.     By  Mrs.  Haywood.     (D.N.B.) 

563.  The  Tea  Table;  or,  a  Conversation  between  some  persons 

of  both  sexes  at  a  Ladies  Visiting  Day.  By  Mrs. 
Haywood.     (635.f.ii(5).) 

564.  The  True,  Genuine  and  Perfect  Account  of  the  Life  and 

Actions  of  Jonathan  Wild.     By  D.  Defoe. ^ 
Lee  gives  these  editions  in  June,  1725. 

565.  The  Unequal  Conflict;  or,  Nature  triumphant.     A  Novel. 

By  Mrs.  Eliza  Haywood. 
Advertised  by  Crokett  in  The  Whimsical  Lovers. 

566.  The  Whimsical  Lovers;  or,  Cupid  in  disguise.     A  Novel. 

By  Mrs.  Symmons.     (12614,  ff.) 

17262 

567.  The  Distressed  Orphan,  or  Love  in  a  Mad-house.     Written 

by    Herself.     The    third    edition.     (12611,    f.(i4).) 
Reprinted  about  18 10  as  Love  in  a  Madhouse;  or  the 
History  of  Eliza  Hartley,  the  Distressed  Orphan. 

1  Attention  should  be  called  to  three  books  often  ascribed  to  Defoe  but 
rejected  by  late  bibliographers,  to  wit,  "The  Four  Years  Voyages  of  Capt. 
George  Roberts*'  (1726),  "The  Military  Memoirs  of  Capt.  George  Carleton" 
(1728),  and  "Madagascar:  or,  Robert  Drury's  Journal"  (1729).  The  second 
of  these  has  been  assigned  by  Colonel  Arthur  Parnell  to  Dean  Swift,  but  there 
is  strong  internal  evidence  that  connects  Defoe,  at  least  in  the  capacity  of 
editor,  with  all  three  books.  Carleton  and  Drury  certainly,  and  perhaps 
Roberts,  were  real  men  who  may  have  furnished  the  materials  out  of  which 
Defoe  constructed  the  accounts  of  their  adventures. 

2  Attention  should  be  called  to  the  popular  and  romantic  "Voyages  and  Ad- 
ventures of  Captain  Robert  Boyle"  of  1726,  which  has  been  assigned  to  Defoe, 
but  which  seems  to  be  clearly  by  William  Rufus  Chetwood.  for  whose  other 
work  in  fiction,  practically  all  in  the  year  1740-41,  see  the  article  in  D.  N.  B. 
Another  story  erroneously  attributed  to  Defoe  is  "The  History  of  Antonoils. 
Containing  a  Relation  how  that  Young  Nobleman  was  accidentally  left  alone,  in 
his  Infancy,  upon  a  desolate  Island;  where  he  lived  nineteen  years,  remote  from 
all  Humane  Society,"  etc.,  1736. 


224 

568.  The  Etitertainhig  Novels  of  Mrs.  Jane  Barker. 

Advertised  by  Bettesworth  as  the  second  edition. 
The  earliest  known  edition  is  that  of  1736  which  was 

reprinted  in  1743. 
The  collection  includes. 

Exilius. 

Clelia  and  Marcellus;  or  the  Constant  Lovers. 

The  Reward  of  Virtue;  or  the  Adventures  of  Claren- 
thia  and  Lysander. 

The  Lucky  Escape;  or  the  Fate  of  Ismenius. 

Clodius  and  Scipiana;  or  the  Beautiful  Captive. 

Piso;  or  the  Lewd  Courtier. 

The  Happy  Recluse;  or,  the  Charms  of  Liberty. 

The  Fair  Widow  or  False  Friend. 

The  Amours  of  Bosvil  and  Galesia. 

569.  The  Life  and  Adventures  of  the  Lady  Lucy,  daughter  to  an 

Irish  Lord.     By  Mrs.  Penelope  Aubin.       (635a. 4. (2). 

570.  The  Lining  of  the  Patch-work   Screen.     By   Mrs.   Jane 

Barker.     (Bodleian.) 

571.  Memoirs  of  the  Life  and  Times  of  the  Famous  Jonathan 

Wilde.     By   Capt.   Alexander   Smith.     {Lit.   of  R., 
P-  I55-)     (615,  a.28.) 

572.  The  Mercenary  Lover;  or,  The  Unfortunate  Heiresses,  Being 

a  true  secret  history  of  a  City  Amour,  in  a  certain  island 
adjacent  to  the  kingdom  of  Utopia.  Written  by  the 
author  of  Memoirs  of  the  said  Island.  (E.  Haywood). 
"Translated  into  English."  (12611,  i.i6.) 
In  1728  reprinted  with  the  Padlock  third  ed.  (12316 
bbb.38(b).) 

573.  Travails  into  Several  Remote  Nations  of  the  World.     By 

Lemuel  Gulliver  first  Surgeon  and  then  Captain  of  sev- 
eral Ships.  Two  vols,  in  four  pts.  [By  Jonathan 
Swift.]  (838,  c.6.) 
There  were  two  other  editions  in  1726,  as  well  as 
L.  G.^s  travels,  .  .  .  compendiously  methodized,  with 
a  key,  observations  etc.     In  1727  this  was  reprinted 


225 

and  two  other  editions  of  the  work  as  well,  and  it 
continued  to  be  reprinted  frequently.^ 

1727 

574.  The  Illustrious  French  Lovers  ;  being  the  true  histories  of 

the  amours  of  several  French  persons  of  quality  .... 
Written    originally    in    French    and    translated    into 
English  by  Mrs.  Penelope  Aubin.     2  vols.   (12511, 
bb.i8.) 
In  1739,  a  second  edition  was  published.^ 

575.  The  Life  of  Madame  de  Villesache.     Written  by  a  Lady, 

who  was  an  eye-witness  of  the  greatest  part  of  her  ad- 
ventures, and  faithfully  translated  from  her  manuscript 
[or   rather  written]  by  Mrs.  E.  H[aywood].     (12331, 

bbb.42(2).) 

576.  Philidore  and  Pacentia.     By  Mrs.  Haywood.     D.  N.  B. 

577.  The  Poetical  Works  of  Philip,  late  dtike  of  Wharton.  .  .  . 

Also  two  interesting  novels  by  the  celebrated  Mrs.  A. 
Plantin  .  .  .  with  a  genuine  account  of  the  life  of  that 
nobleman  (11607,  bbb.) 
In  1 73 1,  reprinted  with  additions.  It  contains  two 
novels  by  Mrs.  Plantin,  The  Ungrateful  and  Love  led 
Astray. 

578.  The  Secret  History  of  the  Present  Intrigues  of  the  court  of 

Caramania.     By  Mrs.  Haywood. 

i[The  Daily  Journal  for  Feb.  6,  1731  advertised  for  the  next  Wednesday, 
two  volumes  of  the  "Travels  of  Mr.  John  Gulliver,  son  to  Capt.  Lemuel  Gul- 
liver, translated  from  the  French  by  Mr.  Lockman."  In  1728  (Nov.  16)  the 
Country  Journal  or  the  Craftsman  advertised  as  lately  published  "A  Trip  to  the 
Moon"  by  Murdoch  McDermol,  printed  at  Dublin  and  reprinted  in  London,  with 
what  seems  to  have  been  an  obscene  dedication  to  Captain  Lemuel  Gulliver- 
This  item  has  been  advertised  as  early  as  Feb.  22,  1728,  cf.  the  Whitehall  Even- 
ing Post. 

*An  undated  edition  of  Mrs.  Aubin's  works  in  the  Col.  Libr.  contains: 
The  Noble  Slaves;  The  Life  and  Adventures  of  Lucinda;  Conjugal  Duty  Rewarded 
or  the  Rake  Reformed;  Life  and  Amorous  Adventures  of  Lucinda;  Fortune  favors 
the  Bold;  Count  de  Vinevil;  Lady  Lucy;  Life  and  .Adventures  of  young  Coun. 
Albertus.  .  .  .  Son  of  Count  L.  A.  by  Lady  Lucy;  Life  of  Charlotte  du  Pont, 
Madame  de  Beaumont.  Five  of  these,  2,  3,  4,  5,  6.  I  have  not  found  else- 
where. 
16 


226 

1728 
579-  ^^'^  Disguised  Prince;  or  the  beautiful  Parisian.     A  true 
history  tr.  from  the  French  (or  rather  written  by  E. 
Haywood).     (12511,  h.5.). 

580.  Female  Excellency;  or,  the  Ladies  Glory.     Illustrated  in 

the  worthy  lives  and  memorable  actions  of  .  .  . 
Deborah,  the  valiant  Judith,  Queen  Esther,  .  .  . 
Susanna  .  .  .  Lucretia,  Vodicia,  Mariamme  .  .  .  Clo- 
tilda Andegona.  By  Richard  Burton  {i.  e.,  Nathaniel 
Crouch),     Third  edition.     (10604,  a.) 

581.  Friendship  in  Death  in  twenty  Letters  from  the  Dead  to  the 

Living.  By  Mrs.  EHzabeth  Rowe.^  (C0I.824.R79. 
L.) 

582.  The  History  of  King  Appius.  .  .  .  By  a  gentleman  who 

served  in  the  Persian  armies.  (P.  F.  Godart  de  Beau- 
champ.)     Translated  from  the  French. 

London  and  Dublin.     (12330  aaa.13.) 

A  story  with  disguised  personages  to  which  a  key  was 
published  in  1764. 

583.  The  Illegal  Lovers;  a  true  secret  history.     Being  an  amour 

between  a  person  of  condition  and  his  sister.  Written 
by  one  who  did  reside  in  the  family.  (1079,  i.i2(i).) 
The  sister  turns  out  to  be  an  unfortunate  orphan 
adopted  by  the  hero's  family.  The  story  is  the  same 
as  that  in  the  Letters.  See  nos.  298,  1682;  394, 
1693;  627,  1734. 

584.  The  Irish  Artifice;   or  the  History  of  Clarinda,  a  novel. 

By  Mrs.  Haywood.  In  the  Female  Duncaid. 
(F.857(2).) 

585.  Life  and  Amours  of  the  Count  de  Tourenne.     (Gay.) 

586.  Psyche. 

587.  The  Royal  Shepherdess. 

588.  Tarsus  and  Zelie. 

589.  Xenophon's   Ephesian   History,   or  Love  Adventures,   of 

Abrocomas  and  Anthia  in  five  books. 
All  advertised  by  J.  Love  in  the  1728  edition  of  the 
Mercenary  Lover. 

J  Advertised  in  the  Whitehall  Evening  Post  for  Jan.  i6,  1727-8. 


227 


1729 

590.  Adventures  of  Abdalla,  Son  of  Hanif,  sent  by  the  Sultan  of 

the  Indies  to  make  a  Discovery  of  the  Island  of  Borico 
.  .  .  translated  into  French  from  an  Arabick  manu- 
script .  .  .  by     Mr.     de    Sandisson  .  .  .  done    into 
English  by  William  Hatchett. 
A  second  edition  was  issued  in  1730. 

591.  The  Fair  Hebrew,  or  a  True  but  Secret  History  of  Tivo 

Jewish   Ladies   who   lately   resided   in   London.     By 

Mrs.  Haywood. 
Gay  further  states  that  this  story  was  reprinted  in  the 

Reader,  1880. 
A  story  with  a  somewhat  similar  title,  La  Belle  Juive, 

was  included  in  a  collection  of  current  novels  called 

Histoires  tragiques  et  Galantes  published  at  Paris,  1731 . 

592.  Letters,   Moral  and    Entertaining    in  Prose    and    Verse. 

Part   I.     By   Mrs.    Elizabeth    Rowe.     Part   II  was 
added  in  1731  and  Part  III  in  1733. 

593.  The  Life  of  the  Countess  de  Gondez  tr.  by  Penelope  Aubin. 

(12511,  aaaa.17.) 

594.  The  Life  and  Intrigues  of  the  late  celebrated  Mrs.  Mary 

Parrimore,  &c. 

595.  Persecuted   Virtue,   or   the   Cruel  Lover.     By  Mrs.  Eliza 

Haywood.     {D.  N.  B.  1730.) 

1730 

596.  The  Amours  of  Philaris  and  Olinda  (dedication   signed 

S.   L.).     (8028  bbb.i6.) 
A  belated  and  vulgar  Arcadian  romance. 

597.  The  Brother;  or.  Treachery  pjinished.     Interspersed  with 

the   Adventures    of  Don   Alvare,  .  ,  .  Don   Lorenzo, 
Cupid  and  Bacchus,  a  dramatic  entertainment,  and  the 
adventures  of  Mariana,  sister  to  Don  Alvarez.     Written 
by  a  Person  of  Quality.     (1459,  b.30.) 
A  series  of  cloak  and  sword  novels. 

598.  Love-Letters  on  all  occasions  lately  passed  between  persons 

of  distinction.     By  Mrs.  Haywood.     (1016  f.  8.) 

599.  The  Northern   Worthies;  or  the  lives  of  Peter  the  Great, 

father  of  his  country  .  .  .  and    of  Catherine  the  late 


228 

Czarina.  By  Fontenelle  tr.  by  J.  Price.  2  pts. 
second   edition.     (6ii,   a.io.) 

600.  Persian  Anecdotes;  or  Secret   Memoirs  of  the   Court  of 

Persia.  Written  originally  in  French  .  .  .  by  the 
celebrated  Madame  de  Gomez.  Translated  by  Paul 
Chamberlain.     (Conant.) 

601.  Persian  Letters  by  C.  de  Secondat,  Baron  de  Montesquieu 

translated  by  Mr.  Ozell. 
There  was  a  third  edition  in  1731  and  a  sixth  in  Edin- 
burgh in  1773. 

602.  The  Ramble;  or  a  View  of  several  amorous  and  diverting 

intrigues  .  .  .  between  some  ladies  of  Drury  Lane  and 
two  certain  Rakes.     (1079.1126(3).) 
Chandler,  Li/.  o/i?.,i.  150,  assigns  this  to  G.  FIdge,  1651. 

603.  The  Voyages  of  Cyrus.     Translated  from  the  French  of 

of  Chevalier  Ramsay.     [Paris,  1727.]     (Dunlop.) 

1731 

604.  The  Amours   of  the   Count  de  Soissons  .  .  .  in  a  .  .  . 

relation  of  the  gallantries  of  persons  of  distinction  .  .  . 
during  the  ministry  of  Cardinal  Richelieu  .  .  .  Trans- 
lated from  the  French  .  .  .  by  J.  Seguin.     The  second 
edition.     (1801,  d.25.) 
Cf.  Modern  Novels,  1692. 

605.  The  Constant  Lovers;  being  an  entertaining  history  of  the 

amours  and  adventures  of  Solenus  and  Perrigonia, 
Alexis  and  Sylvia.  By  John  Littleton  Costeker. 
(12613,3.) 

606.  The  History  of  Executions.     Edition  by  Applebee. 

Reprinted  in  1732  with  the  addition  of    The  Lives  of 
the  most  remarkable  criminals.      {Lit.  of  R.,  i.  178.) 
Other  editions  in  1728,  1736-35- 

607.  The   Life    of   Mahomet.     Translated    from    the    French 

(10605,  b.) 
Reprinted  in  1752. 

608.  Love  a  la  Mode;  or  the  amours  of  Florella  and  Phillis; 

being  the  memoir  of  two  celebrated  ladies  under  those 
names.     (12614  g.) 

609.  The  Memoirs  of  Miss  Cadier  and  her  Father.      (Gay.) 


229 

6io.  Milk  for  Babes,  Meat  for  Strong  Men.  .  .  .  Being  a 
Comical,  Sarcastical  .  .  .  Account  of  a  late  election 
in  Bagdad,  for  Cailiff  of  that  City.  By  .  .  .  Alexan- 
der the  Copper  Smith.     Second  edition.     (Conant.) 

6ii.  The  Progress  of  a  Rake;  showing  the  various  Intrigues  he 
met  with.     (12330  000.34(6).) 

612.  The  Scarborough   Miscellany.     An  original  collection  of 

poems,  odes,  tales.     None  of  which  ever  appeared  in 
print  before.     By  several  hands.     (12330,  k.i2(3).) 
In  1734  a  second  edition  appeared. 

613.  Two  Journals;  the  first  kept  by  seven  sailors  in  the  island 

of  St.  Maurice  in  Greenland  &  Done  out  of  Low  Dutch. 
In  a  Col.  of  Voyages  and  Travels.     (566,  k.7.) 

614.  The  Unhappy  Lovers;  or,  the  History  of  James  Welston, 

Gent  .  .  .  together  with  his  voyages  and  travels. 
(Bound  with  the  Mercenary  Lover.) 

615.  Winter  Evening   Tales.     See  Collections. 

1732 

616.  An  Account  of  Cochin- China.      In  two  Parts.     Trans- 

lated from  the  Italian  of  Chris.  Borro,  by  A .  and  J. 
Churchill.  In  a  Col.  of  Voyages  and  Travels  (566 
K.7.) 

617.  The  Life  of  Sethos.     Taken  from  private  memoirs  of  the 

Ancient  Egyptians.  Translated  from  a  Greek  Manu- 
script into  French  [or  rather  an  original  work  by  J. 
Terrasson]  and  now  faithfully  done  into  English  by 
Mr.  Lediar.     (289.  a.  76.) 

1733 

618.  The  Adventures  of  Prince  Jakaya;  or.  The  triumph  of  love 

over  ambition.     Being  secret  memoirs  of  the  Ottoman 
court.     Translated  from  the  original  French  [of  Adrian 
de  La  Vieuville  D'Orville].     2vols.     (12491C.33.) 
Cf.  the  Annals  of  Love,  no.  20. 

619.  The  Desperadoes;  an  heroick  history.     Tr.from  the  Italian 

.  .  .  of  Giovanni  Ambrogio  Marini.     (12477,  b.17.) 

620.  Rosalinda;  a  Novel.     Containing  the  histories  of  Rosalinda 

and  Lealdus,  Dorisba  and  Leander,  Emilia  and  Edward, 


230 

Adelais,  Daughter  of  Otho  II,  and  Alerames,  Duke  of 
Saxony.  With  a  most  remarkable  story  of  Edmund, 
the  gallant  Earl  of  Salisbury  .  .  .  By  a  man  of  Quality. 
Tr.  from  the  French  [of  Gaspard  Moise  Fontanieu]. 
(12512,  dd.40.) 
A  romance  somewhat  between  Telemachus  and  the 
heroic  romances. 

621.  The  Secret  History  of  Mama  Oello,  Princess  royal  of  Peru 

{i.  e.,  Princess  Anne  daughter  of  George  II).  A 
new  court  novel.     With  a  key.     (i4i8d.40.) 

1734 

622.  UEntretein   des  Beaux   Esprits.     Translated   from   the 

French  of  Mme.  de  Gomez  by  Mrs.  Haywood. 
(D.N.B.) 

623.  General  History  of  the  Lives  and  Adventures  of  the  most 

rioted  highwaymen.  By  Captain  Charles  Johnson. 
(L.  of  R.) 

624.  General  History  of  the  Robberies  and  murders  of  the  most 

famous  Pyrates.     By  Ch.  Johnson  [before  1734]. 

625.  The  Life  and  Adventures  of  Mr.  Cleveland,  natural  son  of 

Oliver  Cromwell,  etc.     [A  romance  tr.  from  the  French 
entitled  Le  Philosophe  anglais  by  Antoine  Frangois 
Prevost  d'Exiles.]     4  vols.     (1251623.)! 
In  1736,  another  edition,  Dublin. 

626.  Love  in  all  its  Shapes,  Illustrated  by  the  various  practices 

of  the  Jesuits  with  Ladies  of  Quality.     (Gay.) 

627.  Love-Letters  between  a  nobleman  and  his  sister  .  .  .  viz. 

E.  .  .  .  (Forde)  Lord  G  .  .  .  (rey)  of  Werk  and  the 
Lady  Henrietta  B{erkeley).  Second  edition.  (11626 
a.24.)     Cf.  no.  298,  1682;  393,  1693;  583,  1728. 

628.  The  Pleasant  Companion;  or.  Wit  in  all  shapes;  being  a 

choice  collection  of  novels,  tales.     (Bod.  Douce  N.  34.) 
The  novels  are: 

Love's  Artifice,  or  the  Negro. 

The  Despairing  Prodigal. 

The  Labyrinth,  or  the  Fortunate  Thief  [from  Painter]. 

'This  book  was  announced  in  the  Daily  Journal,  Mar.  lo,  1731  as  in  press 
and  in  the  London  Evening  Post  for  April  10,  1731  as  pubHshed  that  day. 


231 

The  Mistake. 

The  Midnight  Ramble  [from  Cerv^antes]. 

629.  The    Unnatural   Mother;   or,    Innocent   Love   persecuted. 

Being  the  history  of  the  .  .  .  fatal  consequences  that 
attended  the  .  .  .  passion  of  a  gentleman  .  .  in  the 
Laiv  and  a  young  Lady.     (ii775bbb.) 

1735 

630.  The  English  Nobleman;  or  the  Peasant  of  Quality.     A  true 

History.     Westminster.     (i25iidf.i2.) 

631.  The  Fortunate   and    Unfortunate   Lovers    [Dorastus   and 

Fawnia;    Hero   and    Leander].     By     H.    Stanhope. 
(12611,  d.22.) 
Cf.  no.  308,  1683. 

632.  Letters  from  a  Persian  in  England  to  his  Friend  at  Ispahan. 

By  George  Lyttleton,  First  Baron. 
There  was  a  fifth  edition  in  1735. 

633.  Memoirs  of  Gaudentio  de  Lucca.     (Gay.) 

634.  The  Most  Entertaining  History  of  Hypolite  and  Amynte. 

Advertised  in  the  Fortunate  Lovers. 

635.  The  Skimmer,  or  the  History  of  Tanzai  and  Neardarne 

{a  Japanese  tale)  translated  from  the  French  of  [C.  P. 
de  Jolyot  de  Crebillonj. 
There  was  another  edition  in  1778.     (Conant.) 

636.  The  Tragical  History  of  the  Chevalier  du  Vaudray  and  the 

Countess  Vergi.     Translated  by  Mr.  Morgan. 
Advertised  in  The  Fortunate  Lovers. 

637.  A  Trip  through  the  Town.     Containitig  Observations  on  the 

Humours  and  Manners  of  the  Age.     Fourth  edition. 

1736 

638.  The  Adventures  of  Evaii,  Princess  of  Ijaveo.     By  Ehzabeth 

Haywood.     (Bodleian.) 
Reprinted  in  1741  as  The  Unfortunate  Princess. 

639.  Celenia;  or  the  hystory  of  Heyempsal,  king  of  Numidia 

[Dedication    signed    Zelis    the    Persian].      2    vols. 

(I26l2.d.) 

Reed i ted  in  1742. 

640.  Mogul  Tales  .  .  .  A^ow  first  translated  into  Eng.  with  a 


232 

prefatory  discourse  on  the  iisejulness  of  romances. 
2  vols.     (1076,  i.43.) 

641.  Memoirs   a7id  History   of  Prince    Titi.     Done  from   the 

French  [of  H.  Cordonnier  de  Saint-Hyacinthe]  hy 
a  Person  of  Quality.     (12511CC.2.) 

642.  Le  Paysan  Parvenue.      Translated  from  the  French  of 

Marivaux.  (Cited  by  Miss  C.  L.  Thompson  in  her 
Samuel  Richardso?i .) 

643.  La   Vie  de  Marianne.     Translated  from  the  French  of 

Marivaux.  (Cited  by  Miss  C.  L.  Thompson  in 
her  Samuel  Richardson.) 

1737 

644.  The  Bachelor  of  Salamanca;  or,  Memoirs  of  Don  Cherubim 

de  la  Ronde.     In  jpts Translated  [from  the 

French  of  Alain  Rene  Le  Sage)]  by  Mr.  Lockman. 
2  vols.     (12510b. 29.) 

645.  The   Female  Page:    a  Genuine    and  Interesting  History 

Relating  to  some  Persons  of  Distinction.     By  Elizabeth 
Boyd.     (oi26iig.i7.) 
It  bears  the  running  title  "The  Happy  Unfortunate." 

1738 

646.  The  Life  and  Heroick  Actions  of  the  Eighth  Champion  of 

Christendom;  with  a  particular  account  of  his  combat 
with  the  man  in   the  moon,  etc.      (Professes  to   be 
extracted   from   the  work  of   R.   Johnson.)     By  J. 
Gurthrie.     ('i26o3.aa.) 
This  is  a  satire. 

1739 

647.  Chinese  Letters;  being  a  Philosophical,  Historical,   and 

Critical  Correspondence  between  a  Chinese  Traveler 
at  Paris  and  his  Countrymen  in  China,  Muscovy, 
Persia  and  Japan.  Translated  .  .  .  into  [or  rather 
written  in]  French  by  the  Marquis  d'Argenson;  a?id 
now  done  into  English.     Reissued  in  1 741.     (Conant.) 

648.  The   Unfortunate  Dutchess;  or.   The  Lucky  Gamester;  a 

novel  founded  on  a  true  story.  (Bod.  G.  Pamph., 
1310  (12).) 


233 


1740 
649-  The  City  Jilt;  or,  the  A{lderman)   {J.  Barber?)   turned 
Beau.     (8227bb.) 

650.  The  Cruel  Mistress;  being  the  genuine  trial  of  E.  B.  and  her 

daughter  for  the  murder  of  Jane  Buttersworth  their 
servantmaid,  etc.     Second  edition.     (5i8f.69.) 

651.  The  Life  and  Adventures  of  Mrs.   C.  Davies  commonly 

called  Mother  Ross.      By   R.  Burton  (or  D.  Defoe 
as   some  authorities,  without  good  reason,  think). 
(io826ee.i6.) 
In  1741  reprinted. 

652.  Pamela;  or,   Virtue  Rewarded.     In  a  series  of  Familiar 

Letters  from  a  beautiful  young  damsel  to  her  Parents^ 
By  Samuel  Richardson. 

653.  The  Whimsical  Apothecary;  a  secret  history. 

Advertised  in  The  City  Jilt  and  probably  identical  with 
the  Gentleman  Apothecary,  no.  202,  1670. 
The  following   novels   are   mentioned   by   Langbaine   but 
I  have  been  unable  to  find  out  anything  further  about 
them: 

1.  The  English  Adventurers  furnished   the  source   for 

Shirley's  The  Doubtful  Heir. 

2.  The  English  Lovers,  by  John  Dancer,  written  between 

1660  and  1675,  comprised  numerous  novels  which 
furnished  plots  for  plays. 

3.  Elvira   furnished   the   plot  of    Lord   Digby's  tragi- 

comedy Elvira  about  1667. 

4.  The  German  Princess,  a  Novel,  was  the  source  for 

A  Witty  Combat,  in  1663. 

5.  The  Overthrow  of  Capts.  Ward  and  Daneke  was  the 

source  for  the  play  A    Christian  tiirn'd   Turk  in 
1609. 

6.  The    Wall-Flower,   by  Dr.    Baily,   furnished   George 

Powell  with  the  plot  for  The  Treacherous  Brother, 
1690. 


234 


AN  ALPHABETICAL  LIST  OF  THE  MORE  IMPORTANT 
REPRINTS 

1.  Amadis  of  Gaiile.     Bk.  I  was  translated  by  A.  Munday  in 

1590,  Bk.  II  in  1595,  and  Bks.  Ill  and  IV  some  time  before 
1618.  Early  in  1619  all  four  books  were  reprinted  by 
Nich.  Oakes. 

2.  Arhasto,  King  of  Denmark.     By  Robert  Greene,  in  1626. 

3.  Arnalte  and  Lucenda.     [By  Hernandez  de  San   Piedro  in 

1491,  tr,  in  1575.]     1608  and  1660. 

4.  Bevis  of  Southampton  in  1638-39,  1690,  and  advertised  in 

the  T.  C.  for  1692. 

5.  Ciceronis  Amor,  Tullies  Love.     By  Robert  Greene,  in  1605, 

161 1,  1616,  1628,  1639,  described  as  the  tenth  edition. 

6.  The  Conntesse  of  Pembroke's  A  rcadia.    By  Sir  Philip  Sidney. 

[1590]  in  1605,  1613,  1621,  with  Alexander's  third  book, 
1623,  1627,  with  Beling's  sixth  book,  1629,  with  additions, 
1633,  1654-55  with  add.  and  biography  of  Sidney,  1662, 
1674,  1725  modernized  by  Mrs.  Stanley  "With  the  poems 
omitted  to  please  the  subscribers." 
In  1 701,  it  was  condensed  as  The  Famous  History  of 
Heroic  Acts:  or,  The  Honour  of  Chivalry.  Being  an 
abstract  of  Pembroke's  Arcadia. 
[By  I.  N.] 

7.  Daphnis  and  Chloe  of  Longus  [1598].    Retranslated  in  1657, 

and  again,  by  James  Craggs,  in  1733. 
%.  An Ethiopican Historie:  Fyrst  Written  in  Greeke  by  Heliodorus 
aiid  translated  into  English  by  T(homas)  U {under doivn e) . 
Entered  for  Thomas  Harris,  Sept.  6,  1602,  and  November 
21,  for  Cotton,  but  his  edition  bears  the  date  1606.  In 
1622,  another  edition;  Heliodorus  his  Ethiopican  Historie 
done  out  of  Greeke  [by  Underdowne]  and  compared  [by 
the  editor  V.  Barrett]  with  other  translations  in  diverse 
languages.  1638,  The  Famous  Historie  of  Heliodorus. 
Amplified,  augmented,  and  delivered  paraphrastically  in 
verse  by  W.  Lisle.  1687,  The  Triumphs  of  Love  and  Con- 
stancy: a  Romance,  containing  the  Heroick  Amours  of 
Theagenes  a^id  Chariclea.  In  ten  books.  The  first  by  a 
Person  of  Quality,  the  last  five  by  N.  Tate.     Second  edition, 


235 

The  first  edition  is  presumably  that  advertised  in  the 
T.C.,  1684,  under  the  title  The  Triumphs  of  Love  and  Con- 
stancy. 

Other  references  on  the  S.R.  are  as  follows: 

1619,  Feb.  16,  transferred  to  Snodham;  1619,  July  8, 
transferred  to  Lawrence  Haies;  1625,  Dec.  19,  transferred 
to  Aide;  1638,  Sept.  4,  transferred  to  Haviland  Wright. 
The  date  of  the  original  edition  of  Underdowne's 
translation  is  uncertain.  In  1569,  Francis  Coldock  was 
licensed  to  publish  "The  ende  of  the  Xth.  booke  of  Heli- 
odorus  Ethiopian  Historye"  but  there  is  no  edition 
bearing  that  date.  Yet  Underdowne  in  the  preface  to 
the  1587  edition  mentions  it  "as  not  long  since."  Bliss, 
in  his  edition  of  Anthony  k  Wood  states  positively  that 
the  earliest  edition  is  1577,  and  that  the  same  is  repre- 
sented by  an  undated  copy  in  the  Bodleian  Library. 

9.  Euphiies;  the  Anatomy  of  Wyt  [1579]  and  Euphues  and  his 
England  [1581].  By  John  Lyly.  In  1606,  1607,  1609?, 
1613, 1617, 1623,  1630, 1636, 1716  "the  seventeenth  edition 
much  altered." 

10.  The  Golden  Asse  of  Lucius  Apuleius.  Entered  for  Charles 
Knight  June  26,  1600.  This  is  presumbaly  a  reprint  of 
the  translation  by  William  Adlington  which  first  appeared 
in  1566  and  was  reprinted  in  157 1  and  1596.  References 
occur  in  lists  of  transfers  in  S.  R.  for  May,  1629,  March  8, 
1635-6,  and  July  12,  1639.  On  July  12,  1637,  a  trans- 
lation by  "W.  S."  was  entered  for  John  Thomas.  Huth 
mentions  an  edition  of  1641  but  does  not  specify  the 
translation. 

11.  Griselda,  i.  e.,  The  History  of  the  Noble  Marquis  of  Salus 
and  Patient  Grissel,  1619,  1630?,  1660,  and  1703. 

12.  Guy,  Earl  of  Wanoick,  in  1640,  1681,  1706,  1711,  1733. 

13.  Lazarillo  de  Tormes  [The  first  part  was  originally  translated 

in  1568.]     1619?,   1638?,   1653,   1655,   1670,   1672,   1677, 

1708,  1726. 
i^.  Menaphon[i^'^()\.    By  Robert  Greene.     1607?,  1610,  1616. 
15.  Ornatus  and  Artesia  [1598].     By  Emanuel   Ford.     1607, 

1634,  1654  the  fourth,  1669,  1683. 


236 

i6.  Palmeryn  of  England.  [1588]  1602,  1609,  1616,  1617?, 
1639  with  Florian,  1664. 

17.  Palmeryn  d'Oliva.     [1588],  1615,  1637  and  many  undated 

editions. 

18.  Pandosto,  or  Dorastus  and  Fawnia  [1588].  By  Robert 
Greene.  1614, 1648, 1677, 1688,  1696  moralized  and  bound 
with  Josephus,  1703,  1750?. 

19.  Parismus  [i^gS].     By  Emanuel  Ford.     1608,  1609,  1615, 

1630,  1633,  1636,  1649  the  thirteenth,  1657,  1663,  1664, 
1665,  1668,  1671,  1677,  1680?,  1684,  1690,  1696,  1699, 
1701,  1704,  1713. 

20.  Philomela  [1592].     By  Robert  Greene.     161 5  and  1631. 

21.  A  Quip  for  an  Upstart  Courtier.     By   R.    Greene.     1620 

and  1635. 

22.  Rosalynde,  Euphues  Golden  Legacie    [1590].      By  Thos. 

Lodge.     1607,  1609,  1612,  1623,  1634. 

23.  Robin  Hood.  The  editions  are  seldom  dated  but  there 
was  one  in  1678,  and  others  in  1700?  and  1712. 

24.  The  Destruction  of  Troy  [as  translated  by  Caxton].  1607 
the  fifth  edition,  others  in  1617,  1663,  1670,  1676,  1680, 
1684,  1702,  1708,  1738  at  Dublin  described  as  the  eigh- 
tenth. 

25.  Utopia.  By  Sir  Thomas  More.  The  Latin  version  was 
printed  in  15 16  and  reprinted  in  England  in  1663, 
1750,  1 77 1.  An  English  translation  appeared  in  1551, 
by  Robinson,  which  was  reprinted  in  1556,  1597,  1624, 
1639.  Burnet's  version  was  printed  by  Chiswell  in  1684 
and  reprinted  in  DubHn  in  1737. 

26.  Valentine  and  Orson  [1586]  or  earlier.  1637,  1649?,  1673?, 
1680?,  1690?,  1697?,  1700?,  1710,  1724,  1736  described 
as  the  sixteenth,  1741, 

27.  Vienna,  Noe  Art  can  cure  this  Heart  [1485].  1620,  1638?, 
1650. 

28.  The  Voyage  of  the  Wandering  Knight  [1572].  By  Jean  Car- 
tigny  [tr.  1581],  1607,  1615?,  1620,  1650,  1661,  1670, 
1687  as  The  Conviction  of  Worldly  Vanity. 


237 


A  CHRONOLOGICAL  LIST  OF  THE  PRINCIPAL  COL- 
LECTIONS OF  NOVELS  WITH  THE  NOVELS 
CONTAINED  IN  EACH 

I.  The  A  Jinals  of  Love,  containing  Select  Histories  of  the  Amours 
of  Divers  Princes  Courts  Pleasantly  Related. 
For  J.  Starkey,  London,  1672. 

1.  Countess  of  Castile  elopes  with  a  Pilgrim. 

2.  Alfreda  of  England. 

3.  Don  Garcia.     The  revenge  taken  by  the  husband  of 
the  Countess  of  Castile. 

4.  The  Duke  and  the  Duchess  of  Modena. 

This  couple,  passionately  loved  by  the  Empress 
and  Emperor  respectively,  are  loyal  to  each  other 
and  while  talking  over  their  plight  in  a  garden  are 
overheard  by  the  emperor  and  practically  compelled 
to  commit  suicide. 

5.  Three  Princesses  of  Castile. 

Urasia,  wife  of  Raymond,  is  unloved  by  him. 
Her  sister  Elvira,  exasperated  by  her  husband, 
yields  to  Raymond.  The  discovery  of  her  crime 
leads  to  the  death  of  all  concerned. 

Theresa,  equally  disloyal,  manages  her  affairs  with 
such  discretion  as  to  avoid  detection. 

6.  Agnes  de  Castro. 

7.  Constance  the  fair  Nun  marries  the  son  of  her  lover, 
the  Emperor  Frederick. 

8.  James  King  of  Aragon.     His  revenge  on  a  faithless 
wife. 

9.  The  Fraticelles  or  Hypocritical  Fryars. 

10.  Dulcinus,  King  of  Lombardy. 

11.  Nogaret  and  Mariana. 

12.  Don  Pedro,  King  of  Castile. 

13.  John  Paleologus,  Emperour  of  Greece. 

14.  Amedy,  Duke  of  Savoy. 

15.  Countess  of  Pontieuvre. 

16.  Feliciane. 

17.  Jone,  supposed  of  Castile. 


238 

1 8.  The  Persian  Princess. 

19.  Don  Sebastian,  King  of  Portugal. 

20.  Jecaya  a  Turkish  Prince. 

This  tale,  enlarged,  reappeared  in  1733  as  The 
Adventures  of  P.  /.,  a  translation  from  D'Orville. 

II.  -4  Collection  of  Select  Discourses  out  of  the  most  Eminent 
Wits  of  France  and  Italy.  A  Preface  to  AI.  Sarassin's 
Works  by  M.  Pelissin.  By  S.  R.  for  Henry  Brome, 
London,  1678.     (836c. i.) 

1.  A  Dialogue  of  Love,  by  M.  Sarassin. 

2.  Wallenstein's  Conspiracy,  by  M.  Sarassin. 

3.  Alcidalis,  a  Romance,  by  M.  Voiture. 

In  1676  a  burlesque  version  of  this  romance  ap- 
peared under  the  title  Zelinde  an  excellent  7iew 
romance. 

4.  Freskie's  Conspiracy  by  Sig.  Mascardi. 

There  are  also  discourses  on  style  and  letters  to  the  dead, 
such  as  one  to  Cleopatre  urging  her  to  kill  herself. 

III.  Delightful  Novels  Exemplified  in  Eight  Choice  and  Elegant 
Histories  Lately  Related  by  the  most  Refined  Wits; 
with  Interludes  .  .  .  in  which  are  comprised  the  Gallant 
Adventures,  Amorous  Intrigues,  and  Famous  Enter- 
prizes  of  several  English  Gentry.  With  the  most 
Pathetick  Oratory  and  Subtil  Stratagems  used  in  Love- 
Affairs.  The  fourth  Impression,  Enlarged  with  the 
Addition  of  two  New  Novels.  Printed  by  Benj. 
Crayle,  1686.  (io8id.6.) 
The  stories  are  eight  in  number. 

1.  Honorious.  The  tale  of  a  poor  reprobate  who  won  a 
rich  wife  by  a  trick, 

2.  Amasius  and  Ortelia.  Theselovers  were  betrothed,  but 
desiring  to  make  a  better  match  Amasius's  father  tried 
to  force  him  to  marry  another,  whereupon  Ortelia  died 
of  grief  and  was  shortly  followed  to  the  grave  by  her 
lover. 

3.  Cratander.  He  rescued  an  heiress  from  a  cruel  death 
by  a  murderous  uncle  and  is  rewarded  by  winning 
her  hand  and  her  wealth. 


239 

4-  Charilius.  A  very  gross  story  of  a  man  who  in  trying 
to  deceive  an  heiress  was  himself  outwitted. 

5.  Joanna.     The  heroine  while  a  child  ran  away  with  the 

gypsies,  but  as  it  happened  that  she  was  brought 
up  by  an  uncle  her  sudden  diappearance  was  looked 
upon  as  suspicious  and  he  was  charged  with  mur- 
dering her.  Upon  being  brought  to  trial  he  at- 
tempted to  substitute  another  child  for  the  lost  one, 
which  fraud,  being  found  out,  was  used  as  evidence 
against  him,  and  he  was  convicted  and  executed. 
Years  later  the  little  Joanna  reappeared  as  a  gypsy  and 
married  the  son  of  the  judge  that  sentenced  her  uncle. 
The  management  of  the  court  scenes  and  the  careful 
weaving  of  the  net  of  circumstantial  evidence  is 
well  done. 

The  story  was  reprinted  in  many  undated  chap- 
books. 

6.  Orithia.  This  is  the  old  story  of  the  "Duchess  of 
Savoy." 

7.  CHtia.  This  wicked  courtezan  induced  Leander  to  kill 
his  wife  in  order  to  marry  her,  not  because  she  loved 
him  but  because  such  a  marriage  would  conceal  her 
intrigue  with  Clitophon.  She  died  just  before  the 
ceremony,   whereupon   Leander  committed   suicide. 

8.  Aurelia.     She  was  the  lady  of  Count  Baldwin  and  in 

love  with  his  page.  The  latter  proved  to  be  a  girl, 
who  being  left  destitute  when  the  husband  with 
whom  she  had  eloped  had  been  killed  by  robbers, 
had  adopted  the  life  of  a  page  as  a  means  to  earn 
her  living.  Shortly  after  this  disclosure,  Aurelia 
died  and  Baldwin  promptly  married  his  quondam 
page. 

IV.  Modern    Novels.      In    Twelve    Volumes.      Bentley    and 
Magnes.     London,  1681-93.     (12410.C.) 

This  collection  is  composed  of  forty-six  current 
novels  printed  for  the  most  part  before  1692  although 
the  last  volume  bears  the  date  1693.  Apparently  the 
publishers  simply  bound  together  copies  left  on  their 


240 

hands,  for  the  title-pages  bear  varying  dates  and  the 
print  and  paper  are  not  uniform. 
Vol.  I. 

1.  The  Earl  of  Essex  and  Queen  Elizabeth. 

2.  The  Duke  of  Alangon  and  Queen  Elizabeth. 

3.  The  King  of  Tamaran  or  Hattige.    By  G.  Bremond  (?) 

(1680.) 

A  very  coarse  tale  of  a  faithless  mistress. 

4.  Homais,  Queen  of  Tunis,  by  Sebastian  Grenadine. 

(1681.) 
A  coarse  love-intrigue. 

5.  The  Lucky  Mistake:  a  new  novel.     (1689.)     By  A. 

Behn. 
Volume  II. 

6.  Casimer,  King  of  Poland  (Amours  of).     (1692.) 

7.  Count  Gabalies  or  the  Extravagant  Mysteries  of  the 

Cabalists.     Done  into  English  by  P.  A(yres). 

8.  The  Cheating  Gallant ;  or,  Count  Brion.     A  secret  his- 

tory of  court  amours. 

9.  The  Perplex'd  Prince. 

The  prince  married  a  subject,  and  after  his  wife's 
death  is  prevailed  upon  to  declare  the  child  illegit- 
imate, but  later  he  discovered  his  brother  was  plot- 
ting against  him  and  made  the  child  his  heir.  The 
descriptions  of  the  country  are  better  than  usual. 
Probably  there  is  a  covert  allusion  to  Charles  and 
the  Duke  of  Monmouth. 
Volume  III. 

10.  The  Court  Secret  in  two  parts.     Dedication  signed 

P.  B.     Court  scandal  in  Oriental  setting. 

11.  The  Countess  of  Salisbury;  or  the  most  noble  Order 
of  the  Garter.  An  Historical  Novel  in  Two  Parts. 
Done  out  of  French  by  Mr.  Ferrand  Spence.     (1683.) 

The  introduction  to  this  well-known  anecdote  is 
amusing,  for  the  translator  explains  he  had  changed 
the  heroine's  name  because  "Joan"  was  too  "vulgar," 
and  for  similar  reasons  the  author  had  altered  and 
enlarged  certain  details. 


241 

Volume  IV. 

12.  The  Character  of  Love  Guided   by  Inclination,  in- 

stanced in  two  true  histories.     (1681.) 

The  first  was  an  account  of  the  effects  of  love 
on  a  passionate  boy  followed  by  some  remarks  on 
the  benefits  of  a  good  education. 

13.  The  New  Disorders  of  Love;  a  gallant  Novel. 

14.  Triumph  of  Love  over  Fortune,  by  G.   Bremond. 

(1678.) 

This  is  a  tale  of  a  shepherdess  who  preferred  a 
shepherd  to  a  King. 

15.  Love  Victorious  over  Fortune. 

The  lovers  manage  to  elope  in  spite  of  the  obstacles 
put  in  their  way  by  their  parents. 
Volume  V. 

16.  Don  Sebastian  King   of   Portugal,  trs.  by  Ferrand 
Spence. 

This  story  is  a  medley  of  love  and  war. 

17.  Art  of  Making  Love. 

18.  Fatal  Beauty  of  Agnes  de  Castro.     (1688.) 

19.  The  Amorous  Abbess  or  Love  in  an  Abbey. 

This  contains  the  usual  intrigue  of  crossed  loves. 
Volume  VI. 

20.  Life  of  Francis  of  Lorrain,  Duke  of  Guise.     (1681.) 

This  seems  to  be  a  bone  fide  biography ;  there  are 
no  love  intrigues. 

21.  Fatal    Prudence;   or  Democrates,  The   Unfortunate 
Hero.    A  Novel.    Translated  out  of  French.    (1679.) 

22.  Ottoman  Gallantries;   or,  the  Life  of  the  Bassa  of 

Buda.     (1687.)     Translated  out  of  French,     Trans- 
lator's preface  signed  B.  Berenclow. 

23.  Don  Heneriques  de  Castro;  or  the  Conquest  of  the 

Indies. 
A  Spanish  novel. 
Volume  VII. 

24.  The  Chaste  Seraglian :  or,  Yolanda  of  Sicily.     A  Novel 
in  two  parts  done  out  of  French  by  T.  H.,  Gent. 

25.  The  Princess  of  Fess;  or,  the  Amours  of  the  Court  of 
17 


242 

Morocco.     This  is  a  secret  history  in  the  form  of 
a  romance. 

26.  Zelinde;   an   Excellent  New  Romance,      Translated 

from  the  French  of  Monsieur  de  Scudery.     By  T. 
D.,  Gent.     (1676.) 

This  is  a  burlesque  of  Voiture's  Alcidalis  and 
Zelide. 

27.  The  Obliging  Mistress;  or,  the  Fashionable  Roman. 

(1678.) 
A  series  of  lively  but  not  very  decorous  intrigues. 

28.  The  Revived  Fugitive;   A  Gallant  Historical  Novel. 

(1690.) 
A  rather  poor  short  romance. 
Volume  VIII. 

29.  The  Extravagant  Poet;    a  Comical  Novel.     Trans- 

lated from  the  French  by  G.  R.,  Gent.     (1681.) 

A  humorous  character  in  the  manner  of  the  Spec- 
tator but  more  extravagant. 

30.  The  Unequal  Match;  or  the  Life  of  Mary  of  Anjou, 

Queen  of  Majorca.     Published  by  C.  Blount.     (1681.) 

31.  Amours  of  Bonna  Sforza,  Queen  of  Polonia.     (1684.) 

32.  The  History  of  the  Marechal  de  la   Ferte.     (1690.) 
Volume  IX. 

33.  Gallant  Ladies. 

A  group  of  ladies  tell  their  experiences.  This 
mixture  of  romance  and  intrigue  contains  a  con- 
siderable amount  of  "manners  and  morals." 

34.  The  Minority  of  St.  Lewis. 

Primarily  a  true  history  though  there  are  some 
love  intrigues. 

35.  Gallant  Memoirs:  or  the  Adventures  of  a  Person  of 

Quality.     Written  in  French   by  G.  Bremond  and 
translated  by  Peter  Belon.     (1681.) 

36.  The  Happy  Slave  by  G.  Bremond. 

A  romance.     Dedicated  to  the  Earl  of  Orrery. 
Volume  X. 

37.  The  Count  de  Soissons,  a  Gallant  Novel. 

A  typical  cloak  and  sword  novel. 

38.  The  Princess  of  Montferrat. 


243 

A  novel  of  the  cloak  and  sword  order  modified  by 
the  conventions  of  the  Hotel  de  Rambouillet. 

39.  The  Rival  Princesses:  or,  the  Colchian  Court.     (1689.) 

A  coarse  secret  history. 
Volume  XL 

40.  The  Cabinet  Opened;  or,  the  Secret  History  of  the 
Amours  of  Madam  de  Maintenon.     (1690.) 

41.  Meroveus,  A  prince  of  the  Blood-Royal  of  France. 

(1682.) 

This  story  is  set  in  the  middle  ages.     The  queen  is 
remarkably  well  drawn. 

42.  The  Count  of  Amboise  or  the  Generous  Lover.     Trs. 

by  Peter  Belon.     (1689.) 

Evidently  modelled  after  the  Princess  of  Cleves 
and  though  not  so  good  as  that,  it  is  superior  to  most 
novels  of  the  period. 
Volume  Xn. 

43.  Instructions  for  a  Young  Nobleman  or  the  Idea  of  a 
Person  of  Honour.     (1683.) 

44.  Virtue  Rewarded:    or,  the  Irish  Princess.      A  New 

Novel.     (1693.) 

45.  The  Emperour  and  the  Empire  Betrayed :  By  Whom 

and  How.     Not  a  novel  but  a  controversial  pam- 
phlet. 

46.  Dialogues  of  the  Dead.  In  Three  Parts.  Dedicated 
to  Lucian  in  Elysium.  Made  English  by  J.D. 
(1683.) 

V.  A  Banquet  for  Gentlemen  and  Ladies,  consisting  of  Nine 
Comick  and  Tragick  Novels.  London,  second  impres- 
sion, 1703. 

1.  The  Treacherous  Friend. 

2.  The  Jealous  Husband.     Not  unlike  the  Merry  Wives 

of  Windsor. 

3.  The  Friendly  Cheat. 

4.  Jealousy  without  a  Cause. 

5.  Cuckold  turn'd  Confessor,  by  John  Haywood. 

6.  The    Prodigal    Reclaim'd    and    Virginity    Restored. 

This  is  a  translation  of  The  Force  of  Blood  by  Cer- 
vantes. 


244 

7.  The  Unfortunate  Lovers. 

8.  The   Cruel    Mother.     She   has   her   daughter's   lover 

killed  and  serves  her  his  heart  at  dinner.  The  girl 
is  prevented  from  committing  suicide  by  another 
lover  whom  she  marries. 

9.  The  Bacchanalians. 

VI.  A  Select  Collection  of  Novels.  In  Six  Volumes.  Written  by 
the  most  celebrated  A  utliors  in  several  Languages.  Many 
of  which  never  appeared  in  English  before;  and  all  newly 
Translated  from  the  Originals.  By  several  Eminent 
Hands.  S.  Croxall,  1722,  reprinted  1729.  (12410c.) 
Vol.  I. 

Huet's  Letter  to  Segrais  upon  the  Original  of  Romances. 
Zayde. 

The  Marriage  of  Belfegor. 
The  Jealous  Estremaduran. 
Volume  n. 

The  Princess  of  Cleves.     Pt.  I  dated  1720. 
The  Fair  Maid  of  the  Inn. 
The  Force  of  Friendship. 

The  History  of  the  Captive  from  Don  Quixote. 
Vol.  III. 

Don  Carlos;  an  Historical  Novel.     Originally  written  in 

French  by  the  Abbe  of  St.  Real. 
The  History  of  the  Count  de  Belflor  and  Leonora  de 

Cespedes. 
The  Curious  Impertinent. 
The  Prevalence  of  Blood. 
The  Liberal  Lover. 
The  Beautiful  Turk. 
Vol.  IV. 

The  Happy  Slave. 
The  Rival  Ladies. 
The  Innocent  Adultery. 

The  History  of  the  Conspiracy  of  the  Spaniards  against 
the  Republic  of  Venice.     In  the  Year  MDCXVIII. 
Vol.  V. 

The  Spanish  Lady  of  England. 


245 

The  Lady  Cornelia. 

The  False  Dutchess. 

The  Little  Gypsy. 

Ethelinda.     An   English    Novel   done   from   the    Italian 

of  Flaminiani. 
Vol.  VL 

The   Life   of   Castruccsio  Castracani   of   Lucca.      From 

Machiavelli. 
The   Loves  of  Osmin  and   Doraxa.     From  Guzman  d' 

Alfarache. 
The  Amour  of  Count  Palviano  and  Eleanora. 
Scanderbeg  the  Great. 

Vn.  Winter  Evening  Tales.  Being  a  Collection  of  Entertaining 
Stories,  Related  in  an  Assembly  of  the  most  Polite 
Persons  of  the  French  Nation.  Published  by  F. 
Cogan,  1731.     (12614.ccc.14.) 

1.  History  of  the  Marquis  de  Criton.  A  story  with 
much  the  same  plot  as  The  Conscious  Lovers. 

2.  A  very  short  anecdote  showing  how  a  number  of 

unusual  incidents  made  a  man  think  his  wife  untrue. 

3.  The  Vinegar  Man.  This  man's  wealth  enabled  his 
son  to  marry  a  girl  of  rank. 

4.  The  Baby.     A  practical  joke. 

5.  All  Covet,  All  Lose;  or  too  many  strings  to  a  lady's 
bow. 

6.  The  Landlady  at  Mans. 

7.  Mile.  Ch.,  The  Count  and  the  Chevalier. 

8.  The  Mercenary  Lady. 

9.  Mistaken  Opinion.  A  gentleman  hearing  two  iron- 
workers talking  thinks  they  are  discussing  the  bolts 
and  bars  and  fires  of  love. 

10.  The  Coquette  Widow. 

11.  One  Project  destroys  another. 

12.  Mile,  de  Roches. 

13.  The  Illustrious  Water-Carrier.     [From  Cervantes.] 

14.  Prentice  too  Hard  for  his  Master. 

15.  The  Philosopher's  Stone. 

16.  Col.  and  Mile,  de  St.  Valentine.     A  version  of  Lady 

Cornelia. 


246 


A  LIST  OF  THE  MORE  IMPORTANT  ENGLISH 

WRITERS  WHOSE  WORKS  ARE   INCLUDED 

IN  THE  FOREGOING  BIBLIOGRAPHY 


Aubin,  Penelope. 

Bacon,  Francis. 

Barclay,  John. 

Barker,  Jane. 

Baron,  Robert. 

Bchn,  Aphra. 

Boyle,  Roger. 

Breton,  Nicholas. 

Brown,  Thomas. 

Bunyan,  John. 

Burton,  R.,  Nathaniel 
Crouch. 

Cavendish,  Margaret,  Duch- 
ess of  Newcastle. 

Congreve,  William. 

Crowne,  John. 

Davies,  John  of  Kidwelly. 

Defoe,  Daniel. 


Greene,  Robert. 
Haywood,  Eliza. 
Head,  Richard. 
Johnson,  Richard. 
Kirkman,  Francis. 
L'Estrange,  Roger. 
Lodge,  Thomas. 
Lyiy^  John 
Lyttelton,  George,  first 

Baron. 
Mackenzie,  George. 
Manley,  Mary  de  la  Riviere. 
Markham,  Gervase. 
More,  Sir  Thomas. 
Phillips,  John. 
Sidney,  Philip. 
Swift,  Jonathan. 


INDEX. 


Abra-Mulie,    205 

Academy  of  Complements,  197 

Academy  of  Love  (J.  Johnson),  47, 
170 

Account  of  Cochin-China,  229 

Accoimt  of  Oriental  Philosophy, 
ii3n,  185 

Account  of  some  Passages  in  the 
Life  of  a  Private  Gentleman,  126 

Account  of  the  behaviors  . .  .of  the 
condemned  criminals ...  at  Ty- 
burn, 207 

Account  of  the  discovering  and 
taking  of  S.  Griffith,  a  witch,  208 

Achilles  Tatius,  Leucippe  and  Cli- 
tophon,  II 

Addison,  John,  translation  of  Satyri- 
con,   9;    179 

Addison,  Joseph,  on  heroic  roman- 
ces, 36  ;  writings  of,  express  ideal 
of  the  age,  95 

Adlington,  Wm.,  translated  the 
Golden  Ass,  9 

Adventure  of  Clodaldus  and  his 
Three  Children,   166 

Adventures  of  Abdalla,  227 

Adventures  of  Covent  Garden,  47, 
20S 

Adventures  of  Evaii,  Princess  of 
Ijaveo,  99,  102,  231 

Adventures  of  L.  Marott,   188 

Adventures  of  Prince  Jakaya,   229 

Adventures  of  Rivella.  86-87,  213 

Adventures  of  Telemachus,  205 

Adventures  of  the  Helvetian  Hero 
with  the  Young  Countess  of  Al- 
bania, 63-64  ;  204 

Agratis,  Queen  of  Sparta,   197 

Alarme  for  Sinners,  188 


Alcoforado,  Marianne,  author  of 
Portuguese  Letters,  71 

Alexis  and  Sylvia,  no 

Allegorical  romances,  23-27 ;  Bar- 
clay's Argenis,  23-2$  ;  imitations, 
25-27 ;  The  Flower  of  Fidelitie, 
26 ;  Aretina,  26-27  ;  influence  of, 
on  fiction,  27 

Allegory,  in  heroic  romances,  35 ; 
Pilgrim's  Progress  most  perfect 
example  of,  121-24 ;  Life  and 
Death  of  Mr.  Badman,  124-26 

Almahide  (Mile,  de  Scudery),  28, 
33  ;  drama  founded  on,  36  ;  Moor- 
ish setting  in,  37;  187 

Almanzor,  163 

Almanzor  and  Almanzaide,  in,  188 

Almira,  210 

Altizira,  Princess  of  Fess,  61,  in, 
194 

Amadis  Cycle  source  of  Arcadia,  14 

Amadis  de  Gaulc,  4 ;  The  Fifth 
Book  of,  173 

Amanda,  the  Reformed  Whore 
(Thos.  Cranky),  119-20;  166 

Amorous  A.,  The,  196 

Amorous  Bugbears,  The,  221 

Amorous  Convert,  The,  189 

Amorous  Travellers,  The,   182 

Amours  of  Bonne  Sforca,  Queen  of 
Polonia,  196 

Amours  of  Bosvil  and  Galcsia  (Mrs. 
Barker),  104,  214 

Amours  of  Count  Teckeli,  198 

Amours  of  Edzcard  IV,  57;  206 

Amours  of  Madame  and  the  Count 
de   Guiche,    191 

Amours  of  Messalina,  61,  201 


247 


248 


Amours  of  Philaris  and  Olinda,  51, 
202,    227 

Amours  of  the  Count  de  Sotssons, 
228 

Amours  of  the  Marshal  de  Boufflers, 
205 

Amours  of  the  Sultana  of  Barbary, 
61,  201 

AmusemerJs  Serious  and  Comical 
Calculated  for  the  Meridian  of 
London,  47,   iii,  206 

Anaxander  and  Orasia,  169 

Annals  of  Love,  The,  183 

Anti-hero  in  picaresque  miscellanies, 
45 

Anti-romance,   Zelinde   an,    39 

Anti-romances,  43-49 ;  comic  ro- 
mances, 44-45 ;  picaresque  mis- 
cellanies, 45-47 ;  narrative  satires, 
47-48 ;    contribution   of,   48-49 

Apollonius  of  Tyre,  7,  8-9 

Apologue,  The,  examples,  112;  in- 
fluence of,   113 

Apparition  of  Mrs.  Veal,  The 
(Daniel  Defoe),    127,   209 

Apuleius,  The  Golden  Ass,  9 

Arabian  Nights  Entertainment,  iii, 
212 

Arcadia  (Sir  Philip  Sidney),  14-16; 
significant  features  in,  14-15  ; 
popularity  of,  15  ;  references,  15, 
imitations  of,  16 ;  pattern  for 
Pandion  and  Amphigenia,  40 

Arcadian  Princess,  The,  166 

Arcadian  Romances,  14-16;  Sid- 
ney's Arcadia,  14-15;  imitations, 
16;  elements  of,  in  Astree,  28 

Aretina  (Sir  George  Mackenzie) 
26-27;    178 

Argenis  (John  Barclay),  24;  trans- 
lations   and   imitations,    24-25,    41 

Ariana  (D.  de  Saint-Sorlin),  38,  167 

Arragonian  Queen,  The,  220 

Art  of  Making  Love,  The,  200 

Artamenes  or  the  Grand  Cyrus,  33, 
36,    175 


Arthurian  romances,  1600-1740,  3-5  ; 
contrasted  with   Spanish  cycles,  5 

Asteria  and   Tamberlaine,   187 

Astraca,  History  of,  161 

Astree   (Honore  d'Urfe),   16,   28 

Atalantis  Major,  212 

Aubin,  Mrs.  Penelope,  Narratives 
of,  characterized,  106 ;  Life  of 
Mme.  de  Beaumont,  106,  i07n, 
217;  Strange  Adventures  of  the 
Count  de  Vinevil  and  his  family, 
106,  i07n,  218;  The  Noble  Slaves, 
106,  219;  History  of  Genghizcan, 
a  translation,  106,  218  ;  Life  and 
Adventures  of  the  Lady  Lucy, 
106,  107,  224;  The  Illustrious 
French  Lovers,  106,  107-8,  225; 
Life  of  the  Countess  de  Gondez, 
106,  io8n,  227;  imitated  Defoe, 
106,  134;  value  of  works,  108; 
undated  edition  of  works,  225n 

Aurora  and  the  Prince,   171 

Autobiography,  Defoe's  favorite 
form  of  narration,   127,   130 

Bachelor  of  Salamanca,  The,  232 

Bacon,  Sir  Francis,  New  Atlantis, 
20;    163 

Baily,  Dr.,  The  Wall-Flower,  233 

Bajazet,  221 

Bandello,  8,  51 

Banquet  for  Gentlemen  and  Ladies, 
A,  8,  52,  207 

Barbauld,  Mrs.,  on  Richardson's 
predecessors,    14 

Barclay,  John,  Argenis,  23-25  ;  162- 
63 ;  sketch  of  life  of,  23n ;  Eu- 
phormionis  Lusinini  Satyricon, 
47,  158 

Barker,  Mrs.  Jane,  on  the  romances, 
43;  early  associations  of,  103; 
Poetical  Recreations.  103-4;  Am- 
ours of  Bosvil  and  Galesia,  104, 
214;  other  romances,  i04n;  Ex- 
ilius,  3in,  104-5,  113,  214;  in- 
structive   novels,    105 ;    A    Patch- 


249 


work  Screen  for  the  Ladies,  105, 
221  ;  The  Lining  of  the  Patchwork 
Screen,  73,  105,  224;  story  of 
Capt.  Manley,  105-6;  The  Chris- 
tian Pilgrimage  translated  by,  215  ; 
The  Entertaining  Not'els  of,   22^ 

Barlaam  and  Josaphat,   7,  8 

Baron,  Robert,  The  Cyprian  Acad- 
emy, 40-41 ;  171 

Bath-Intrigues,  221 

Behn,  Mrs.  Aphra,  Source  of  The 
Young  King,  36 ;  75-85  ;  sketch 
of  life,  75-76 ;  three  series  of 
letters,  76 ;  Love-Letters  to  a 
Gentlemen,  76-77 ;  Letters  to 
Lycidas,  77-78,  iQin  ;  The  Lover's 
Watch,  77,  igSn;  humorous 
stories :    The   Little   Black    Lady, 

78,  196  ;  The  King  of  Bantam,  78- 

79,  197;  histories:  Oroonoko,  80- 

82,  200 ;  The  Fair  Jilt,  46,  77,  82- 

83,  200 ;  novels  of  cloak  and 
sword :  Agnes  de  Castro,  83  ;  The 
Nun,  83,  201  ;  The  Lucky  Mis- 
take, 83,  201  ;  summary  of  works, 
84-85  ;  compared  with  Mrs.  Hay- 
wood, 103  ;  Histories  and  Novels, 
205  ;  books  attributed  to,  213 

Beling,  Richard,  Sixth  Booke  to  the 
Countcsse     of     Pembroke's     Ar- 
cadia, 163 
Belon,    Peter,    translator,    39 ;    The 

Court  Secret,   168 
Bentivolio   and    Urania   (N.  Ingelo) 

27 
Beraldus,  Prince  of  Savoy,  185 
Berenclow,  R.,  translator,  39 
Berger  Extravagant,  Le  (Sorel),  44 
Bergerac,   Cyrano   de.   Comical  His- 
tory  of   the  States   of   the   Moon 
and  the  Sun,  21,   168 
Bernard,  Richard,  The  Isle  of  Man, 

118,  121,  163 
Bemers,  Lord,  History  of  the  most 
noble    knight,    Arthur    of    Lytcll 
Brytaine,  4 


Biographical     narrative    popular    in 

17th  century,  60-62 
Biondi    on     Sidney,     16;    Eromena, 

30  ;  three  romances  by,  38 
Birinthia,  33,  35,   179 
Bissel,  John,  Icaria,  25,   167 
Blackborn,  Richard,  Clitie,  200 
Blackbourn,  R.,  Three  novels  in  one, 

201 
Blackmore,  Sir  Richard,  Epics  of,  4 
Blair,    Bryce,    Vision   of    Theodorus 

Verax,  183 
Blazing    World,    The    (Duchess    of 

Newcastle)  23,  36,  93 
Bloody  Innkeeper,  The,  185 
Boccaccio,  8,  51 
Bontemps,     Roger,     Les     Heurcuscs 

Avantures  d'Amour,   181 
Boulster  Lecture,  A,  168 
Bourgeoisie  dealt  with  only  in  comic 

episodes.    98 ;    sympathetic    treat- 
ment   of,    no;    Bunyan    wrote    in 

terms  of,  122 
Bower's  Cyrus  the  Great,  Source  of, 

36 
Boyd,  Elizabeth,   The  Female  Page, 

2Z2 

Boyle,  Robert,  Martyrdom  of  Theo- 
dora and  Didymous,  8n,  199 

Boyle,  Roger,  Lord  Broghill,  Par- 
thenissa,  34,  175  ;  personal  allu- 
sions in  Parthenissa,  35,  English 
Adventures,  58-59,  186 

Brathwaite,  Richard,  The  Smoking 
Age.  207 

Bremond,    Gabriel   de,  38n 

Breton,  Nicholas,  The  Strange  For- 
tunes of  Two  Excellent  Princes, 
154;  A  Mad  World  my  Masters, 
155  ;  Grimello's  Fortunes,  155 

Brief  and  Merry  History  of  Great 
Britain,   211 

British  Recluse,  The  (Mrs.  Hay- 
wood), 99,  218 

British  Visions,  The.  21 3n 

Broghill,  Lord,  see  Boyle,  Roger 


250 


Brothers,  The,  or  Treachery  pun- 
ished, ss,  227 

Brown,  Thos.,  version  of  Satyricon, 
9;   179 

Brown,  Tom,  Dialogues  of  the  Dead, 
97 

Browne,  William,  translated  Polex- 
andre,  32,  171 

Bunyan,  John,  Sources  of  Allegories, 
121;  Pilgrim's  Progress,  122-24; 
190;  Life  and  Death  of  Mr.  Bad- 
man,  46,  124-25  ;  Grace  abounding 
to  the  Chief  of  Sinners,  125  ;  The 
Holy  War,  125  ;  imitators  of,  125- 
26  ;   influence  of,   126-27 

Burlesques,  French,  44 

Burton,  Richard,  see  Nathaniel 
Crouch 

Burton,  Richard  or  Robert,  pseu- 
donym of  Nathaniel  Crouch,  4, 
note  4a 

Bynnerman,  Henry,  Treasurie  of 
Amadis  of  Gaule,  5 

Cabinet  Open'd,  The,  202 
Canons,     Aristocratic     fiction     con- 
formed to   recognized,    i 
Canons  derived  from  classical  models, 

29,  30 
Capello  and  Bianca,  187 
Captain   Singleton    (Daniel    Defoe), 

129-30,  216 
Carleton,     R,,     Diana,    Duchess    of 

Mantua,   41,    189,    191 
Carolingian  romances  1600-1740,  3; 

contracted  with  Spanish  cycles,  5 
Casimer,    King    of    Poland,    61,    62, 

202 
Casket  story.  The,  of  Shakspere,  8n 
Cassandra   and   Others   of   the   Sex, 

208 
Castiglione,  The  Courtier  of,  source 

of  the  hero,  31 ;  89 
Celenia,  33,  35,  231 
Cervantes,  Galatea,  37  ;  Persiles  and 

Sigismunda,    38;    Liberal   Lovers, 


38,  42;  Don  Quixote,  44,  158; 
humor  of,  45  ;  Exemplary  Novels, 
53 

Chamberlayne,  P.,  Pharonnida,  30, 
23;  Love  in  its  Empire,  217 

Chandler,  F.  W.,  on  picaresque  mis- 
cellanies,  43n,  45,  46,  47n 

Chapbooks,  dealing  with  heroes,  4  ; 
imitations  of  Arcadia,  16;  mod- 
eled on  Euphues,  18;  influence  on 
fiction,   115 

"  Character,"  The,  90  ;  in  periodicals, 
95 

Character  of  Love  guided  by  Incli- 
nation,  The,   198 

Character-sketch,  The,  types  and  in- 
fluence of,  96-97 ;  Sir  Roger  de 
C overly  culmination  of,   137 

Character-sketches,   48 

Character  study,  subjective  in  Play- 
ers Tragedy,  54  ;  in  memoirs,  62 

Characterization  in  heroic  romances, 
31  ;  in  dialogues,  97 

Characters,  in  Ethiopian  History, 
11-12;  idealized  in  Arcadia,  14; 
prominent  personages,  23 ;  in 
Eromena,  34 ;  in  Celenia,  35 ;  in 
miscellaneous  romances,  in  New 
Atlantis,  60,  87-88 ;  in  novel  of 
manners,  65 ;  in  Mrs.  Manley's 
works,  86,  87;  in  Mrs.  Rowe's 
works,  94;  in  Mrs.  Haywood's 
works,  loi  ;  in  Bunyan's  works, 
122,  123,  125;  in  Defoe's  works, 
130,  133 

Charlanne  on  translations  of  heroic 
romances,   32 

Chaste  Seraglian,   The,   38,   196 

Cheating  Gallant,  The,  62,  188 

Chinese  Letters,  232 

Chinese  Tales  or  the  Adventures  of 
the  Mandarin  Fnm-Hoam,  iii, 
221 

Chivalric  Romances,  3-7  :  Arthurian 
and  Carolingian  cycles  in,  3-5 ; 
Spanish    cycles,    5  ;    narratives   by 


251 


Ford,  6-7 ;  contribution  of,  to 
early  novel,  7,  116;  elements  of, 
in  heroic  romances,  28 ;  redac- 
tions of,  1 1 5-16;  structure  in 
Pilgrim's  Progress  similar  to,  122 

Choice  Banquet  of  Witty  Jests, 
Rare  Fancies  and  Pleasant  Novels, 
52,   179 

Choice  Novels  and  Amorous  Tales, 
173 

Christian  Pilgrimage  of  Salignac  de 
la  Mo  the  Fenclon,  215 

Chronicle  of  Tyburn,  The,  216 

Cimmerian  Matron,  The,   181 

Cinthio,   51 

"Circular  plot"  in  Ro.vana,  131 

City  Jilt,   The,   232 

Classical  Romances,  7-14;  significa- 
tion of  term,  7 ;  Milesian  tales, 
7-9;  Latin  fiction,  9-10;  Greek 
erotic   tales,    10-14 

Clelia,   33,    176 

Cleopatre    (La    Calprenede),    28,    36 

"  Cleophil  "  pseud,  of  Congreve 

Clidamus,  167 

Cloria  and  Narcissus,  25,  33,   175 

Codrington,  R,,  Life  and  Death  of 
Robert,  Earl  of  Essex,  171 

Collection   of  Pleasant   Novels,   206 

Colloquialism  introduced  into  novel, 
114 

Colonel  Jack  see  History  and  Re- 
markable Life  of, 

Comedy,  Influence  of,  on  novels,  66 

Comic  romances,  Don  Quixote,  44  ; 
French,  44 ;  English,  44-45 ;  in- 
fluence of,  45,  48 ;  rarely  vulga- 
rized,   116 

Comical  Bargain,  The,  or  Tricks 
upon  Trick,  209 

Comical  History  of  Francion,  44, 
176 

Comical  History  of  the  . . .  Moon 
and  the  Sun,  21,  168 

Comical  Pilgrim,   The,  218 


Comical  Vie-ms  of  London  and  West- 
minster, 47 

Commercial  class,  Rise  of  the,  2 

Commonwealth  of  Oceana  (James 
Harrington),  20,  176 

Companion  for  the  Ladies  Closets, 
213 

Compendious  History  of  George  the 
Farmer,  61 

Compleat  Mendicant,  The,  46 ;  good 
man  as  hero   in,  49,  206 

Conant,  Martha  Pike,  The  Oriental 
Tale    in   England,    m 

Conduct   book,  Euphues   a,    17 

Conduct  books,  89-91;  by  Uefoe, 
132,  133,  137 

Confession  of  R.  B.  the  hangman, 
172 

Congreve,  William,  on  novel  as  dis- 
tinguished from  romance,  50  ;  on 
analogy  between  fiction  and 
drama,  67,  68 ;  Incognita,  67-69 ; 
quotations,  67-68,   203 

Consolidator,  The  (D.  Defoe),  21, 
127,    208 

Constant  but  Unhappy  Lovers,  The, 
210 

Constant  Lovers,  The,  story  of 
Solenus  and  Perrigonia,  42-43. 
228 ;  story  of  Alexis  and  Sylvia, 
no 

Contemporary  manners  in  English 
novels,  63  ;  in  Defoe's  works,  132 

Contemporary  narratives,  Elements 
in,   114 

Continuation  of  Comical  History  of 
Don  Quixote  de  la  Mancha,  208 

Coralbo,  176 

Costeker,  John  Littleton,  Entertain- 
ing History  .of  ...  Solenus  and 
Perrigonia,  42-43  ;  228 

Cotterel,  Sir  Charles,  translated 
Cassander,  33,  173;  exchanged 
epistles  with  the  "  Matchless 
Orinda,"  36 

Count  d'Amboise,  191,  201 


252 


Count  dc  Soissons,  200 
Count  of  Gabalis,  The,  192 
Counterfeit  Lady  Unveiled,  The,  184 
Countess  of  Bedford's  Arcadia,   156 
Countess    of    Montgomery's    Urania 

(Lady  Mary   Wroth),   16 
Countess  of  Salisbury,   The,   195 
Court  Secret,  The,  201 
Courtly  romances,  Transition   from, 

to  novel  of  manners,   i 
Crafty  Lady,  The,  195 
Cranley,  Thomas,  Amanda,  119-20; 

166 
Credence,    Devices  used   by  Bunyan, 

for  gaining,  125  ;  by  Defoe,  127 
Criminal  biography,  raised  to  realm 

of  literature,  119;  by  Defoe,  130 
Cross,      Prof.,      defines      character- 
sketch,   96 
Crouch,     Nathaniel,     reworked     old 

stories,      4 ;      History      of     Nine 

Worthies     of     the     World,     199 ; 

Female  Excellency,  226  ;  Life  and 

Adventures  of  Mother  Ross,  233 
Crowne,    John,    Paudion    and    Am- 

phigenia,  33,  40,  179 
Cruel  Mistress,  The,  232 
Cupid  and  Psyche,  Episode  of,   9 
Cynthia,  41-42  ;  quotation  from,  42  ; 

199 
Cyprian     Academy,      The      (Robert 

Baron),  40;    quotation   from,   41; 

171 

D.,  T.,  as  a  translator,  39 
D.,  W.,  Gent,  Ta.vila,  41 
Dancer,  John,   The  English  Lovers, 

233 
Daphnis  and  Chloe  (Longus),  11 
Davies,  J.,  translator,   182,  igin 
Davys,    Mrs.    Mary,    The   Reformed 

Coquette,  70,  220 
Dean  of  Killerine,  The,  214 
Decameron,  The,  sin,   160 
Defoe,    Daniel,    Reflective    point    of 

view    in,    12:    and    romances    of 


roguery,  47;  optimism  in,  117, 
use  of  news-narratives  by,  119; 
early  literary  training,  127-28; 
History  of  the  Wars  of  Charles 
XH,  \27,  214;  The  Consolidator, 
21,  127,  208;  The  Apparition  of 
Mrs.  Neal,  127,  209;  Robinson 
Crusoe,  128-29,  215  ;  Capt.  Single- 
ton, 129-30,  216;  Moll  Flanders, 
119,  129-30,  217;  Colonel  Jack, 
129-30,  218;  Criminal  literature 
and  narratives  of  adventure,  129- 
30;  Roxana,  119,  129-31,  220; 
Journal  of  the  Plague  Year,  132, 
218;  Life  and  Adventures  of  Mr. 
Duncan  Campbell,  132,  216;  mis- 
cellaneous narratives,  132;  The 
Family  Instructor,  90,  132-33, 
134,  214;  Religious  Courtship, 
90,  133-34,  219;  influence  on 
prose  fiction,  134-35  ;  The  Dumb 
Philosopher,  215;  The  King  of 
Pirates,  216;  Due  Preparations 
for  the  Plague,  i2gn,  218;  The 
Highland  Rogue,  219  ;  History  of 
. . .  Life  of  John  Sheppard,  220  ; 
A  New  Voyage  Round  the  World, 
221  ;  Account  of  the  conduct  of 
the  late  J.  Gow,  221  ;  Life  and 
Actions  of  Jonathan  Wild,  223 ; 
books  attributed  to,  49,  202,  207, 
211,  212,  2isn,  216,  218,  220, 
223n 

Dekker,  Thos.,  O  per  se  O,  46  ;  The 
B  elm  an   of  London,    157 

Delightful  Novels,  The,  8,  52,  113 

Delightful  Novels  exemplified  in 
eight   choice   Histories,    198 

Deloney,  Thomas,  stories  of  popular 
heroes,  117;  Historic  of  John  of 
Winchomb,  160 

de  Luna,  John,  Pursuit  of  the  His- 
torie  of  Lazarillo  de  Tornies,  162 

Dent,  Arthur,  The  Plaine  Man's 
Pathrvay  to  Heaven,  118,  121,  171 

Descriptive    narratives,    47-48 


253 


Desmarets  de  Saint-Sorlin,  Ariana, 
38 

Desperadoes,  The,  229 

Dialogue,  The,  a  device  in  social 
treatises,  90 ;  examples  and  influ- 
ence of,  97 

Dialogue  between  Dick  Brazenface 
and  Tim  Meanwell,  212 

Dialogue  betzveen  Francesco  and 
Aurelia,   198 

Dialogue  in  novelle,  62 ;  in  narra- 
tive comedies,  66 

Dialogues  by  Defoe,  97,  133-34 

Dialogues  de  M.  le  Baron  de  la 
Hontan,  208 

Dialogues  of  Lucian,  Imitations  of, 
97 

Dialogues  of  the  Dead,  50.  196 

Dialogues  of  the  Dead  (Prior),  97 

Dialogues  of  the  Dead  and  the  Liv- 
ing and  the  Dead  (Tom  Brown), 
97 

Diana    (Montemayor),    37 

Diana,  Duchess  of  Mantua  (R. 
Carleton),    41,    189 

Dianea   (Loredano),  38,   175 

Diction,  Elegance  of,  in  Greek  ro- 
mances, 13;  in  Cyprian  Academy 
and  other  romances,  40-41 

Didactic  narratives  of  Mrs.  Aubin, 
106 

Didactic  purpose  in  Greek  romances, 
38-39 

Didactic  stories  in  periodicals,  95  ; 
by  Mrs.  Haywood,  99 

Didactic  story.  The,  111-13;  fables, 
112;  the  apologues,  112;  the  edu- 
cative treatise,   113 

Didacticism,  in  Lyly,  17;  in  heroic 
romance,  31,  36;  in  Reformed 
Coquet,  70  ;  sentimental,  74  ;  love 
of,  114;  in  Robinson  Crusoe,  129; 
in  Roxana,  131 

Digby,  Sir  Kenelm,  wrought  his 
courtship  into  romance,  60 


Digressions,  Use  of  humorous,  08- 
69 

Discovery  of  a  New  World;  or  a 
description  of  the  South  Indies 
hitherto  unknown,  20;    157 

Disguised  Prince,  The  (Mrs.  Hay- 
wood),  101-2;   226 

Disorders  of  Bassett,  The,  200 

Distressed  Child  in  the  Wood,  The, 
210 

Distressed  Orphan,  The,  109;  out- 
lined, i09n.,  223 

Divell  a  Married  Man,  The,  171 

Diversions  of  Mars  and  Venus,  206 

Domestic  history  in  Pilgrim's  Prog- 
ress, 123 

Domestic  life  in  sketches  in  peri- 
odicals, 95  ;  Mrs.  Haywood's 
works,  99,  102;  taste  for  themes 
from,   137 

Domestic  tragedies,  Examples  of, 
120-21 

Don  Belianis,  Spanish  romance,  5 

Don  Carlos,  186 

Don  Heneriques  de  Castro,  197 ; 
translation  of,   57-58 

Don  Juan  Lamberto,  satire,  6-7 ; 
45;   178 

Don  Quixote  (Cervantes),  44;  pop- 
ularity of,  136  ;   158 

Don  Sebastian,  King  of  Portugal, 
195 

Donzella  Desterrada,  166 

Double  Captive,  The,   109,  215 

Drama,  Influence  of  the,  on  fic- 
tion, 120-21 

Dramatists  found  material  in  Greek 
romances,    13 

Drudge,  The,  or  the  Jealous  Ex- 
travagant. 48,  183 

Dryden,  John,   on  heroic   romances, 

27,  30  ;  on  the  noble  savage,  82 
Dryden's      Conquest     of     Granada, 
Source  of,  36 

Du  Bartas  on  Sidney,  15 


254 


Duke  of  Alangon  and  Queen  Eliza- 
beth, 56 

Dunlop  on  Barlaam  and  Josaphat,  8 

Dutch  Rogue,  The,  46,  195 

Dykes,  Dr.  Oswald,  Good  Manners 
for  Schools,   113 

Educative  treatise,  Mrs.  Barker's 
Exilius,  104-5,  113;  French  and 
English  examples,   113 

Element  of  actuality  in  allegorical 
romances,   27 

Eliana    (John    Pordage),   40 

Elizabethan  literature,  Romances  of 
roguery  in,  45 

Elizabethan  romances.  Redactions 
of,  116 

Elvira,  233 

Emotions,  Subjective  analysis  of,  in 
Mrs.  Haywood's  Works,  103 

Emperoxtr  and  the  Empire  Betrayed, 
SO,  194 

Endimion  de  Gombauld,  25,  167 

English   Adventures,    233 

English  Adventures  (Roger  Boyle), 
58-59 ;   186 

English  Nobleman,  The,  230 

English  Nun,  The,  a  comical  de- 
scription of  a  Nunnery,  47,  206 

English  Princess,  The,  or  the 
Dutchess   Queen,    57,    189 

English  Rogue,  The  (R.  Head),  46, 
179 

Entertaining  History  of  . .  .Solenus 
and  Perrigonia,  The,  (J.  L.  Cos- 
teker),  42-43,  228 

Enfretien,  L',  des  Beaux  Esprits, 
230 

Episodes,  Dramatic,  in  Greek  ro- 
mances, 13  ;  fabricated,  in  his- 
torical novels,  56 ;  no  extraneous, 
in  Pilgrim's  Progress,  123-24;  ex- 
traneous, in  Roxana,  131 

Epistles  of  Col.  Henry  Martin,  197 

Epitome  of  all  the  Lives  of  the 
Kings   of  France,   168 


Erastus  or  the  Roman  Prince,  185 
Eromena ;    or    Love    and    Revenge, 

38n,    164 
Eromena,   or    The   Noble   Stranger; 
modelled  on  French  romances,  30, 
33  ;   story  of,   34;    19s 
Eryci  Puteani  Comus  sive  Phagesi- 

posia  Cimmeria,  10,   165 
Essex  Champion,   The,  45,    195 
Ethiopian     History^      The      (Helio- 

dorus),   11-12 
Euphormionis     Lusinini     Satyricon, 

(John   Barclay),   47,    158 
Euphues    (John    Lyly),    17-18 
Euphuism    modeled    on     Greek    ro- 
mances,   13 
Euphuistic   Romances,    17-18;   char- 
acteristics of  Lyly's  Euphues,  17- 
18;   other  examples,   i8n 
Evagoras,  188 

Exemplary   Novels    (Cervantes),   53 
Exilius    (Mrs.   Barker),   3in,    104-5, 

113,  214 
Extravagant  Poet,  The,  48,  193 
Extravagant  Shepherd,  The,  44,  175 

Fable,  The,  origin  and  examples, 
112;   influence  of,   113 

Fables  of  Aesop,  The,   112,  173 

Fables  of  Pilpay,  112,  206 

Faerie  Queen,  The,  and  Pilgrim's 
Progress,    121-22 

Fair  Jilt,  The  (Aphra  Behn),  Pica- 
resque material  in,  46  ;  heroine  in, 
77  ;  82-83,  200 

Fair  One  of  Tunis,  The,  184 

Faithful  Shepherd,  The  (Guarini),  S7 

False   Duchess,    The,   218 

Familiar  Letters  of  Love  and  Gal- 
lantry, 215 

Family  Instructor,  The  (Daniel  De- 
foe), 90,  132-33,   134,  214 

Family  life  in  Defoe's  works,  132 

Famous   Whore,   The,    158 

Fatal  Prudence,  33,   191 


255 


Fatal  Secret,  The  (Mrs.  Haywood), 

99,    222 

Fatall  Beauty   of  Agnes  de   Castro, 

200 

Feigned  personages  in  romance,  38- 
39 

Female  Deserters,  The,  215 

Female  Dunciad  (Mrs.  Haywood), 
98 

Female  Falsehood,   208 

Female  Gallant,  The,  203 

Female  Grievances  Debated,  220 

Female  Spectator,  The  (Mrs.  Hay- 
wood), 98,  102-3 

Fenelon,  Telemaque,  educative  trea- 
tise, 113 

Fennor,  William,  Compters  Common- 
wealth,  1 60 

Fiction,  Three  periods  of,   136-37 

Fiction,  literary,  Three  types  of,  2 ; 
influence  of  ideal  commonwealths 
on,  23 ;  influence  of  allegorical 
romances  on,  27 ;  influence  of 
heroic  romances  on,  29,  35-37, 
contribution  of  Defoe  to,  131 

Fiction,  literary  and  popular,  Dis- 
tinction between,  1-2 

Fiction  and  drama,  Congreve  on  an- 
alogy between,  67-68 ;  relation  of, 
120-21 

Fidge,  George,  The  English  Gus- 
man,   173 

Fielding,  combined  novel  and  ro- 
mance, 116 

Five  Love-letters  from  a  Nun  to  a 
Cavalier,  189 

Five  love-letters  written  by  a  Cava- 
lier, 204 

Flagellum,  183  , 

Floating  Island,  The,  184 

Flower  of  Fidelitie,  The  (John 
Reynolds),  26 

Folk-tales,  Literary  treatment  of, 
116-17 

Ford,  Emanuel,  History  of  Omatus 
and  Artesia,  6  ;  History  of  Faris- 


mus,    6;    History    of    Montelion, 

Knight  of  the  Oracle,  6 
Foreign    observer,    device    used    in 

ideal  commonwealths,  23  ;  in  alle- 
gorical romances,  27 
Fortunate,    The,    the  Deceived    and 

the  Unfortunate  Lovers,  195 
Fortunate  Fool,  The,  181 
Fortunate  Mistress,  The,  or  a  His- 
tory   of    the    Life    of    Mile,    de 

Beleau  (Daniel  Defoe),  119,  129- 

31,  220 
Fortunes   and   Misfortunes    of   Moll 

Flanders     (Daniel     Defoe),     119, 

129-30,  217 
Four  true  Tragic-Comical  Histories 

of   our  Late    Times,    53,    167 
French  King  proved  a  Bastard,  The, 

203 
French   King's    Wedding,   The,    116, 

210 
French    novels,    of    manners,     114; 

of  scandal,  vulgarized,   116 
French     romances     made     English, 

136 
French  Spy,  The,  ;^o6 
Friar  Rush,   161 
Friendship   in  Death    (Mrs.    Rowe), 

93,   94,    226 
Fryer  Bacon,  116,   163 
Furetiere,  Le  Roman  Bourgeois,  44, 

47n 

Gainford,  Thomas,  History  of  Per- 

kin  Warbeck,  160 
Galatea   (Cervantes),  37 
Gallant  Hermaphrodite,   The,   199 
Gallant  Memoirs,  62,   193 
Gallantry   Unmasked,  202 
Gallants,  The,  197 
Gallery  of  Heroic  Women,  173 
Gargantua  (Rabelais'),  44 
Gayton,      Edmund,      Wil      BagnaVs 

Ghost,  176 
Gayton,    John,    Pleasant    Notes    on 

Don  Quixote,   175 


256 


Generous     Rivals,     The,     narrative 

comedy,    69,    214 
Gentleman  Apothecary,  The,  182 
Gerardo,  The  Unfortunate  Spaniard, 

164 
German  Princess,  The,  233 
Ghost    story,    raised    to     realm    of 

literature,   119 
Gibbs,  Richard,  The  New  Disorders 

of  Love,  199 
Gil  Bias   (Lesage),   44 
Gods      Revenge      against      Murder 

(John  Reynolds),  26 
Godwin,    Francis,    The   Man   in    the 

Moone,  20-21,  168 
Golden  Ass   (Lucius  Apuleius),  9 
Golden  Eagle,  Tale  of  the,  118;  188 
Gombauld,    Jean    Ogier    de,    Endy- 

mion,  25 
Gomberville,  Polexandre,  28 
Gonsales,   Domingo,  pseud,  of  God- 
win, Francis,  2on52 
Good    Manners    for    Schools     (Dr. 

Dykes),   113 
Good  savage  introduced  into  fiction, 

63,   81 
Goodman,      Nicholas,      Hollandes 

Leaguer,    165 
Gough's  Strange  Discovery,  13 
Governour  of   Cyprus,   201 
Grace   Abounding    to    the    Chief    of 

Sinners  (John  Bunyan),  125 
Grand    Cabinet-Counsels    Unlocked, 

178 
Grand  Pyrates,  The,  185 
Great  Alcander,  The,  196 
Great  Scanderbeg,  The,  202 
Greek  erotic  tales,  10-14;  origin  of 

and     examples,     ion22;     Daphnis 

and  Chloe,  11  ;  Ethiopian  History, 

11-12;  structure  and  style,  12-13; 

influence    of,     13-14;    Argenis    a 

typical,  24 
Greek  romances,  Ethiopian  History 

pattern  for,  11  ;  influenced  heroic, 

28,    30 ;    miscellaneous    romances 

modelled  after,  37-38 


Greene,  Robert,  16,   18 
Guarini,  The  Faithful  Shepherd,  37 
Gulliver's  Travels  (J.  Swift),  21-22 
Guthrie,    J.,    Life    and    Heroik    Ac- 
tions of  the  Eighth  Champion  of 
Christendom,  232 
Guy  of  Warwick,  4 
Guzman    Hind    and    Hannan    Out- 
strip t,  177 

Happy  Slave,  The  (Gabriel  de  Bre- 
mond),   38,   188 

Harrington,  James,  Comonwealth  of 
Oceana,  20,  176 

Hartlib,  Samuel,  Kingdom  of  Ma- 
caria,  23n,   170 

Hattige  or  the  Amours  of  the  King 
of  Tamaran,  192 

Haywood,  Mrs.  Eliza,  on  the  ro- 
mances, 43  ;  general  characteris- 
tics, 98-99  ;  Female  Dunciad,  98  ; 
Memoirs  of  a  certain  Island  ad- 
jacent to  Utopia,  19,  60,  98,  222; 
Secret  History  of  the  Present  In- 
trigues of  the  Court  of  Caramania, 
99,  225  ;  Lassellia,  99,  220 ;  The 
Rash  Resolve,  99,  220  ;  The  Fatal 
Secret,  99,  222  ;  The  British  Re- 
cluse, 99,  218;  Letters  of  a  Lady 
of  Quality  to  a  Chevalier,  99,  220  ; 
Idalia,  99-100 ;  220 ;  The  Mer- 
cenary Lover,  loo-i,  224;  The 
Padlock,  loi  ;  The  Disguised 
Prince,  101-2,  226;  The  Surprise, 
102,  222  ;  Princess  of  Ijaveo,  99, 
102,  231  ;  The  Female  Spectator, 
98,  102-3;  The  Tea  Table,  99, 
102-3,  223 ;  compared  with  Mrs. 
Behn,  103  ;  The  Injured  Husband, 
220 ;  Love  in  Excess,  221  ;  La 
Belle  Assemblie,  a  translation, 
22in ;  Fantomina,  222 ;  Mary 
Stuart,  a  translation,  222 ;  Secret, 
222 ;  The  Unequal  Conflict,  223 ; 
Histories,  Novels  and  Poems, 
Life  of  Mme.  de  Villesache,  225  ; 
Philidore  and  Pacentia,  225  ;  The 


257 


Irish  Artifice,  226 ;  The  Fair 
Hebrew,  227 ;  Persecuted  Virtue, 
227 ;  Love-Letters  lately  passed 
between  persons  of  distinction, 
227 

Head,  R.,  The  English  Rogue,  46, 
179;  Madame  Wheedle,  182;  Life 
and  Death  of  Mother  Shipton, 
196  ;  Nugae  Venales,  198 

"  Heliodorian  poesie,"  30  ;  described, 
38 

Heliodorus,  The  Ethiopian  History, 
11-12;  a  source  for  dramatists, 
13;  source  of  Arcadia,  14;  pat- 
tern for  heroic  romance,  29-30 

Hell  Reformed,  169 

Helvetian  Hero,  The,  narrative 
comedy,  66-67 

Heptameron,  175 

Hero,  Chivalric  type  of,  5,  7  ;  pas- 
toral, 14;  heroic,  29,  30-31  ;  ordi- 
ary  good  man  as,  49  ;  in  The  Fair 
Jilt,  82-83  ;  in  Mrs.  Rowe's  works, 
94;  Robin  Hood  type,  117;  in 
Pilgrim's  Progress,  123;  Crusoe 
the  ideal  practical,  128 

Heroe  of  Lorenzo,  The,  173 

Heroic  romances,  27-37  ;  three  stages 
of  development  of,  28  ;  important 
features  of,  recognition  of  ro- 
mance, 29-30 ;  canons  derived 
from  classical  models,  30 ;  hero 
and  heroine,  30-31  ;  sentiment, 
and  pure  moral  tone,  31  ;  trans- 
lations, 32-33  ;  imitations,  33-35  ; 
influence  of,  35-37  ;  plays  founded 
on,  36;  rarely  vulgarized,   116 

Heroical  Adventures  of  the  Knight 
of  the  Sea,  S  ;  iS4 

Heroik  Life .  ..of  Henry  the  fourth. 

158 
Heroine  in  Greek  romance,  12; 
pastoral  type  of,  14  ;  heroic  type 
of,  29,  30-31,  33;  influence  of 
Portugese  letters  on,  74  ;  in  The 
Fair  Jilt.  82 ;  Mrs.  Rowe's,  94 ; 
Mrs.   Barker's,    104 


Heroine  Musqueteer,   The,   189,   207 
Heywood,  Thomas,  Domestic  trage- 
dies    of,     120;     Lives     of     Nine 
Worthy  Women,  169 
Highland  Visions,  The,  48,  213 

Highzvayzvoman  celebrating  Marcy 
Clay,  The,   179 

Hind,  John,  Eliosto  Libidinoso,  156; 
We  have  brought  our  hogs  to  a 
fair  market,   174 

Hind's  Elder  Brother,  174 

Historical  anecdotes,  116 

Historical  novels,  55-59,  charac- 
terized, 55-56 ;  examples,  dealing 
with  Queen  Elizabeth,  56-57 ; 
Don  Heneriques  de  Castro,  57-58  ; 
English  Adventures,  58-59 

Historical  Romance  of  the  Wars  be- 
tzveen  the  mighty  Giant  G.  and 
the  Great  Knight  Nasonius,   59 

Histoire  de  Larrons,  167 

Histories,  by  Mrs.  Behn,  79-83 ; 
by  Mrs.  Manley,  85-86 ;  of  pop- 
ular heroes,   117 

History  and  novel  distinguished,  51 

History  and  Remarkable  Life  of 
Colonel  Jacque  (Daniel  Defoe), 
129-30;  218 

History  of  Agnes  de  Castro  (Mrs. 
Behn),    83 

History  of  Appian  of  Alexandria, 
191 

History  of  Blanchedyne,  166 

History  of  Bovinian,  117,  176 

History  of  Cang-Hy.  the  present 
Emperor    of    China,    205n 

History  of  Evoradmus.  Prince  of 
Dcnmarke,  155 

History  of  Executions.  The.  228 

History  of  Genghiacan.  106.  218 

History  of  Henry  IV.  King  of 
France  and  Navarre.  179 

History  of  Hypatia,   The.   217 

History    of    Hypolite    and    Amynte. 

History  of  John  of  Bourbon.  210 
History  of  King  Appius,  The.  226 


258 


History    of   Leonora    Cespedes    and 

Count  de  Bclflor,  218 
History  of  Montelior,  Knight  of  the 

Oracle  (E.  Ford),  6 
History  of  Nicerotis,  199 
History  of  Ornatus  and  Artesia  (E. 

Ford),    6 
History  of  Parismns  (E.  Ford),  6 
History  of  Prince  Mirabel's  infancy, 

rise  and  disgrace,  6in 
History  of  Queen  Elizabeth  and  her 

favorite    the    Earl    of    Essex,    56, 

172,   192 
History  of  Queen  Margaret  daughter 

to  Henry  H,  172 
History    of   Reynard   the   Fox,    116, 

193 
History  of  St.  Elizabeth,  165 
History    of    Tarquin    and    Lucretia, 

181 
History    of     that     Worthie    Knight 

Mervine,   159 
History  of  the  Bucaniers,  195 
History  of  the  Civil  Wars  of  Gra- 
nada, 2,7 
History    of    the   five    Wise   Philoso- 
phers, 183 
History  of  the  French  Rogue,  183 
History  of  the  Grand  Viziers  Maho- 
met and  Achmet  Coprogli,  186 
History   of  the   Greene  Knight   and 

the  Princess  Beroshia,  511;  155 
History   of   the   Loves   of  Lysander 

and  Sabina,  51  ;  story  of,  67;  200 
History   of   the   Marechalless   de   la 

Ferte  Senneterre,  62,  202 
History    of    the    most   noble    knight 

Arthur   of  Lytell  Brytaine    (Lord 

Berners),  4 
History    of   the   Nun    (Mrs.    Behn), 

83.  201 
History    of    the    Royal    Sla7'e :    or 

Oroonoko    (Aphra  Behn),   80-82; 

quotation,  81  ;  200 
History  of  the  Scrrail,   166 
History   of  the  Siege  of  Toulon  by 


Donne  ail  de  Vise,  215 
History  of  the  two   children  in  the 

wood,  116,  216 
History  of  Wars  of ...  Charles  XH, 

King  of  Sweden   (Daniel  Defoe), 

127-28,  214 
Holland,    S.,    Wit   and   Fancy    in    a 

Maze,    45  ;    Don   Zara    del   Fogo, 

176 
Honiais,  Queen  of  Tunis,  193 
Honourable  Prentice,  The,  159 
Hotel  de  Rambouillet,   Influence  of, 

29 ;    revulsion    against    ideals    of, 

72 ;   usage  of,  a  model  for  social 

treatises,  90 
Howell,     James,     Dodona's     Grove, 

171  ;   A   Relation   of   the   Life   of 

Christina,   Queen  of  Sweden,   176 
Hue  and  Cry  after  Conscience,  An, 

125,  199 
Huet,  Bp.  Pierre  Daniel,  on  the  use 

of    prose    or    poetry,    29-30 ;    on 

heroic  romances,  29n  ;  on  canons 

derived   from   Greek  romance,   30 
Humanitarian    novel,    Oroonoko   the 

first,   80 
Hume,  James,  Pantaleonis  Vaticinia, 

Satyra,  10,  47,  165 
Humorous  stories  by  Mrs.  Behn,  78- 

79 
Hiion   of  Bordeaux,  4 
Husband  forced  to  be  jealous,  The, 

181 
Hutton,     Luke,     The     Blackdog     of 

Newgate,   154 
Hymen's  Praeludia.  32,  174 
Hypolitus,  Earl   of  Douglas  . . .  with 

the  Secret-History  of  Mack-Beth, 

57,  210 

Ibrahim.   33,   38,   174 

Icaria   (John  Bissel),  25.  167 

Idalia    (Mrs.    Haywood),    Story    of, 

qg-ioo.   220 
Ideal    commonwealths,     ig-23  ;    de- 
fined. 19  ;  More's  Utopia  and  imi- 


269 


tations,  19-21  ;  Gulliver's  Travels, 
21-22 ;  other  works  of  Swift,  22  ; 
influence  on  novel,  23 ;  other  ex- 
amples, 23n 

lldegerte,  queen  of  Norway,  33,  217 

Idealism  in  Bunyan,   122 

illegal  Lovers,  The,  226 

Illustrative  story,  Use  of,  in  social 
treatises,  90;  in  Mr.  Badman,  125 

Illustrious  French  Lovers,  The 
(Mrs.  Aubin),  106,  107-8,  225 

Illustrious  Persian  Maid,  The,  203 

Illustrious  Shepherdess,  The,  176 

Imaginary  Conversations,  of  Landor, 

97 
Immorality,     Reaction     against,     in 

early  i8th  century,  89,  114 
Impartial   History   of   the  Life   and 
Actions      of      Peter      Alexowitz, 
Csar  of  Muscovy,  220 
Incognita  (Congreve),  Extract  from 

Introduction  to,  50  ;  67-69  ;  203 
Inconstant  Lover,  The,  182 
Ingelo,     Nathaniel,    Bentivolio    and 

Urania,  27,  178 
Innocent  Adultery,  The,  218 
Instructions  to  a   Young  Nobleman, 

50 
Instructive  novels,  Mrs.  Barker,  105 
Intrigue,    in    Milesian    tales,    7 ;    in 
17th    century    romances,    41;     i" 
novels    of    cloak    and    sword,    53- 
54 ;  with  characters  under  feigned 
names,  59  ;  in  novelle,  62 ;  in  Eng- 
lish novel  of  manners,  63-66  ;  in 
narrative  comedies,  66  ;  in  works 
of  Mrs.  Manley,  85,  86;  novel  of, 
favorite     type     with     Mrs.     Hay- 
wood, 98 
Intrigues  of  Love,  201 
Irish  Rogue,  The,  46,  202 
Island  of  Content,  The.  211 
Isle  of  Man,  The  (R.  Bernard),  118, 
121,  163 

Jackson's  Recantation,   185 


Johnson,  Capt.  Charles,  Lives  and 
Adventures  of  the  most  noted 
highwaymen,  230  ;  History  of  Rob- 
beries and  Murders  of  the  most 
famous   Pyrates,    230 

Johnson,  Dr.,  on  Mrs.  Rowe,  95 

Johnson,  John,  True  Relation  of 
God's  Wonderful  Mercies,  156; 
Academy  of  Love,  47,  170 

Johnson,  Richard,  St.  George's  three 
sons,  157;  Looke  on  me  London 
I  am  an  honest  Englishman,  159; 
Seaven  Champions  of  Christen- 
dom, 159  ;  History  of  Tom  Thumb, 
161  ;  History  of  George  a  Greene, 
165 

Journal  of  the  Plague  Year  (Daniel 
Defoe),    132,   218 

Journalistic  point  of  view  in  De- 
foe,  127 

Jusserand  on  Emanuel  Ford,  6 ; 
English  Novel  in  the  Time  of 
Shakespeare,  isn;  on  Euphues, 
1 7  ;  on  Zelinde,  39 

Just  Reward  of  Rebels,  The,  ii7n, 
170 

Keach,    Benjamin,    The    Travels    of 

True  Godliness,  125,  195 
Keach,    Thomas,    Progress    of    Sin, 

125,  196-97 
King  of  Bantam,  The  (Aphra  Behn), 

78-79  ;  quotation,  79  ;  197 
King  of  Pirates,  The,  211 
Kirkman,   Francis,   new  versions  of 

old  stories,  4  ;   The  Unlucky  Citi- 
zen, 46,  184 
Knights  of  the  Blade,   174 
Koerting,  Prof.,  on  three  stages  of 

heroic  romance,  28 
Kiitz.   Otto,   The  Faerie   Queen   and 

Pilgrim's  Progress,   \22n 

La  Calprenede.  Use  of  suspense  in, 
12;  Cassandra,  Cl6opatre,  Phara- 
mond,  best  examples  of  heroic  ro- 


260 


maiice,  i8  ;  patterned  after  Helio- 

dorus,    29 ;    translations    of,    32 ; 

influence    of,    on    English    fiction, 

36-37 
La   Fayette,    Mme.    de,   Princess   de 

Cleves,  55,  200 
La    Mothe,    Marie    Catharine,     The 

Diverting    Works   of   Countess    d' 

Aulnay,  209 
Lady's    Philosopher's    Stone,     The, 

222 
Lassellia    (Mrs.    Haywood),   99,   220 
Late   Storie   of   Mr.    William   Lilly, 

The,  171 
Lawyer's  Clarke  Trappan'd,  179 
Le   Guys,   Sir   Robert,   translator   of 

Barclay's  Argenis,  25 
Legend  of  Captain  Jones,  185 
Legends,      Literary      treatment      of, 

116-17 
Lesage,  Gil  Bias,  44  ;  humor  of,  45 
L'Estrange,   R.,   translator,  48;    112, 

189 
Letter,  A,  concerning  the  country  of 

Muley   Arxid,   King   of   Taleletta, 

182 
Letter,    The,    as    a    narrative    form, 

74 ;   in   periodicals,   95 
Letters    in   imitation    of    the   Nun's 

five  letters  (Mrs.  Manley),  73,  205 
Letters  moral  and  entertaining  (Mrs. 

Rowe),  90,  93-94,  227 
Letters   of  a  Lady   of   Quality   to   a 

Chevalier    (Mrs.    Haywood),    99, 

220 
Letters    of    a   Portugese    Nun,    48 ; 

described,  70-72  ;  other  renderings 

and    imitations,    72-73  ;    influence 

of,  73-75,  114,  136  ;  on  Mrs.  Behn, 

77  ;  imitated  by  Mrs.  Haywood,  99 
Letters   of   a   Turkish   Spy,    23,    59, 

74-75,    85,    iii;    continuation    of, 

by  Defoe,    128 ;    199 
Letters  of  Abelard  and  Heloise,  73 
Letters   of  Love  and  Gallantry,   7z, 

204 


Letters  to  Lycidas  (Mrs.  Behn),  77- 
78,   igin 

Letters,  The  CCXI  Sociable  (Duch- 
ess of  Newcastle),  92-93  ;  179 

Lcucippe  and  Clitophon  (Achilles 
Tatius),   II,   13 

Liberal  Lovers   (Cervantes),   38,   42 

Life,  Adventures  and  Pyracies  of . . . 
Capt.  Singleton,  129-30,  216 

Life  and  . . .  Actions  of  George  Henry 
Baron  de  Goer 1 2,  216 

Life  and  Actions  of  Lewis  Domini- 
que Cartouche,  218 

Life  and  Adventures  of  Buscon  the 
witty  Spaniard,   177 

Life  and  Adventures  of  Mr.  Cleve- 
land, 134,  230 

Life  and  Adventures  of  Mr.  Dun- 
can Campbell  (Daniel  Defoe), 
132,  216 

Life  and  Adventures  of  Pedrillo  del 
Campo,  220 

Life  and  Adventures  of  the  Lady 
Lucy  (Mrs.  Aubin),  106,  107,  224 

Life  and  Amours  of  the  Count  de 
Tourenne,  226 

Life  and  Death  of  Edward  the 
Black  Prince,   184 

Life  and  Death  of  Gamaliel  Ratsey, 
155 

Life  and  Death  of  Griffin  Flood, 
162 

Life  and  Death  of  John  Rheinboldt, 
215 

Life  and  Death  of  Mr.  B adman 
(John  Bunyan),  124-25;  192; 
Picaresque  material  in,  46 

Life  and  Death  of  Mr.  J.  A.  a  no- 
torious highzvayman,  212 

Life  and  Death  of  Mumper,  207 

Life  and  Intrigues  of  Mrs.  Parri- 
more,  227 

Life  and  Piracies  of  Capt.  Avery, 
61 

Life  of  Francis  of  Lorrain,  Duke 
of  Guise,  193 


261 


Life  of  Mahomet,  228 
Life  of  Merlin,  170 

Life  of  Mme.   de  Beaumont    (Mrs. 

Aubin),    106,    10711,   217 
Life  of  Sethos,  113,  229 

Life  of  St.  Francis  Xavier,  200 

Life  of  the  Countess  de  Gondec 
(Mrs.    Aubin),    106,    io8n 

Life  of  the  renowned  Peter  d'  Au- 
busson,   191 

Lining  of  the  Patch-work  Screen 
(Mrs.  Barker),  73,  105,  224 

Little  Black  Lady,  The  (Aphra 
Behn),  78,  196 

Lives  and  Amours  of  the  Empresses, 
consorts  to  the  first  twelve  Caes- 
ars of  Rome,  221 

Lizes  of  Saint  Elzear  and  his  Wife, 
168 

Lives  of  Sundry  Notorious  Villains, 
188 

London-Bawd,  The,  212 

London  Spy  Compleat,  The  (E. 
Ward),  22,  48.  207 

Long,  Kingesmill,  translator  of  the 
Argenis,   24 

Longus,  Daphnis  and  Chloe,  11 

Look  ere  you  Leap,  212 

Love  a  la  mode,  228 

Love  and  Arms  of  the  Greek  Prin- 
ces, 169 

Love  at  First  Sight,   178 

Love  in  a  Passion  zuithout  Discre- 
tion, 119,  211 

Love  in  all  its  Shapes,  230 

Love  Led  Astray  (Mrs.  Plantin), 
112,  225 

Love  Letters  between  a  Nobleman 
and  his  Sister,  73,  204,  230 

Love  Letters  betzceen  Polydorus  and 
Messalina,  201 

Love  Letters  from  Henry  VIII  to 
Anne  Buleyn,  213 

Love-letters  to  a  Gentleman  (Aphra 
Behn),   76-77 

Love  Lottery,  The,  211 

11 


Love  story.  The  popular,   119-20 
Love  upon   Tick,  222 
Love   Victorious   over  Fortune,    196 
Loveday,    R.,    translated    Cleopatre, 

32.    174 
Lover's  Secretary,  The,  108-9,  213 
Lover's    Watch,    The    (Mrs.    Behn), 

77,   igSn 
Love's   Academy,   216 
Love's  Journal,  182 
Love's  Poesie,  198 
Loves  and  Adventures  of  Clerio  and 

Logia,   174 
Loves  of  Charles,  Duke  of  Mantua 

and       Margaret,       Countess       of 

Rovers,   The,   181 
Loves  of  Lysander  and  Sabina,  200 
Loves    of    Osmin   and   Doraxa,    221 
Loves  of  Sundry  Philosophers,  The, 

184 
Loving  Enemy,   The,    172 
Lucas,      Theophilus,      Memoirs      of 

Gamesters,  213 
Lucky   Mistake,    The    (Mrs.    Behn), 

83,   201 

Lyly,  John,  Euphucs.  17-18 
Lyttleton,    George,    Letters    from    a 

Persian  in  England  to  his  friend 

at  Ispahan,  231 

Macaulay  on  Afra  Behn,  83 

Mack-Beth,  see  Hypolitus 

Machiavelli,   The  Prince,  89 

Mackenzie,  Sir  George,  Aretina,  26- 
27,   178 

Madde  Pranckes  of  Merry  Mall  of 
Banckside,   158 

Mall,  The,  47,  211 

Man  in  the  Moon.  The.  48.  158 

Man  in  the  Moone  (Domingo  Gon- 
sales),  20-21  ;  168 

Manley,  Capt.,  Story  of.  by  Mrs. 
Barker.   105-6 

Manley,  Mary  de  la  Riviere.  Sum- 
mary of  life  and  works.  85-86; 
Queen   Zarah   and   the   Zarasians, 


262 


59.  85,  2o8  ;  Secret  Memoirs  and 
Manners  of  several  Persons  from 
the  New  Atlantis,  19,  20,  60,  85, 
87-88,  211  ;  Memoirs  of  Europe  at 
the  close  of  the  eighth  century, 
86,  212;  The  Adventures  of 
Rivella,  86-87,  213;  History  of 
her  Life  and  Times,  86,  222 ;  A 
Stage-coach  Journey  to  Exeter, 
86,  223;  Bath  Intrigues,  87,  221; 
The  Power  of  Love,  52,  87,  217; 
works  contrasted  with  Mrs.  Behn 
and  Mrs.  Haywood,  88 ;  Letters, 
in  imitation  of  the  Nun's  five 
letters,  73,  205  ;  Court  Intrigues, 
212 

Marivaux,  Le  Paysan  Parvenu,  no, 
232;  La  Vie  de  Marianne,  no 

Markham,  Gervase,  translator,  Pas- 
toralls  of  Julietta,  156;  Second 
parte  of  Arcadia,  159 

Mary   Stuart,   Queen   of  Scots,   222 

"  Matchless  Orinda  "  see  Dutchess 
of  Newcastle 

Matchless  Rogue,  The,  222 

May  den  in  Confolens,  155 

Memoir,  Influence  of  the,  on  nar- 
rative art,  62 

Memoir  structure,  in  Gulliver's 
Travels,  22  ;  in  Robinson  Crusoe, 
128 

Memoirs  and  History  of  Prince  Titi, 
232 

Memoirs  of  a  Cavalier  (Daniel  De- 
foe), 132 

Memoirs  of  an  Island  adjacent  to 
Utopia  (Mrs.  Haywood)  in  form 
an  ideal  commonwealth,  19;  a 
secret  memoir,   60,  98  ;   222 

Memoirs  of  Europe  at  the  close  of 
the  eighth  century  (Mrs.  Manley), 
86,  212 

Memoirs  of  Gaudentio  de  Lucca, 
231 

Memoirs  of  Miss  Cadier  and  her 
Father,   228 


Memoirs  of  Mile,  de  St.  Phale,  61 

Memoirs  of  the  Baron  de  Brosse, 
222 

Memoirs  of  the  Court  of  Spain,  203 

Memoirs  of  the  Life  and  Aventures 
of  Signor  Rozelli,  61,  211 

Memoirs  of  the  Life  of  Emeric, 
Count  of  Teckely,  204 

Memorials  of  Margaret  de  Valois, 
170 

Mercenary  Lover,  The  (Mrs.  Hay- 
wood),  loo-i,  224 

Mercury   Gallant,  The,   184 

Meroveus  a  Prince  of  the  Blood- 
royal   of  France,   33,    194 

Middle  class,  Serious  portrayal  of 
the,  98 ;  glorification  of,  in  his- 
tories of  popular  heroes,   117 

Milesian  tales,  defined  7-8 ;  Bar- 
laam  and  Josaphat,  8 ;  Apollonius 
of  Tyre,  8-9 

Milk  for  Babes,  Meat  for  Strong 
Men,  22g 

Miracles  of  the  Age,  208 

Mirrour  for  Mindes,  The,   164 

Miscellaneous  Romances,  37-43 ; 
Moorish  or  Moslem  setting  em- 
ployed, 37-38 ;  three  Italian  ro- 
mances, 38 ;  some  English  redac- 
tions, and  romances,  39-44 ;  four 
romances  with  Spanish  setting, 
41-43  ;  end  of  affected  court  ro- 
mance,  43 

Misoponeri  Satyricon,  9-10 

Mock-Clelia,  The,  44,   190 

Modern  Novels,  Types  of  fiction  in, 
50  ;  203 

Mogul  Tales,  231 

Moll  Flanders,  see  Fortunes  and 
Misfortunes  of 

Montelion,  Knight  of  the  Oracle, 
Don  Juan  Lamberto,  6 

Montemayor,  Diana,  37 

Moorish  history  as  setting  for  ro- 
mances, Z7 


263 


Moral    purpose    in    heroic    romance, 

29,    31 
Moral  reaction,   137 
Moral    tracts,    Theme    of,    and    ex- 
amples, 118 
Morality,   Practice  of  in  early   i8th 

century,  89 
More,  Sir  Thomas,  Utopia,  19 
Morte  Darthur  reprinted,  3-4 
Moslems  in  romances,  37-38 
Motivation  of  characters.  Lack  of  in 

Mrs.  Manley,   87-88 
Mrs.   Manley's   History    of   her   life 

and  Times,  86,  222 
Munday,  translations  from  Spanish,  5 
Mitndus  Alter  et  Idem,  19,  157 
Murder  will  out,  203 

Narration,  Direct,  in  chivalric  ro- 
mances, 5  ;  mingled  with  indirect 
in  Arcadia,   15 

Narration  in  Swift's  Works,  22 

Narration,  Indirect,  in  classical  ro- 
mances,  12 

Narration,  Realistic,  in  biographical 
narratives,  62 

Narrative  modified  to  suit  social 
conditions,  97-98 

Narrative  of  adventure,  Mrs.  Aubin, 
106;  raised  to  literature  by  De- 
foe, 119,  137;  examples  by  Defoe, 
130 

Narrative  of  the  Adventures  of  L. 
Marott,  188 

Narrative  comedies,  66-70  ;  charac- 
teristics of,  66 ;  The  Helvetian 
Hero,  66 ;  History  of  the  Loves  of 
Lysander  and  Sabina,  67  ;  Incog- 
nita, 67-69  ;  The  Generous  Rivals, 
69  ;  The  Rival  Mother,  70 ;  The 
Reformed  Coquet,  70 ;  King  of 
Bantam,  79 ;  Lover's  Secretary 
similar  in  style  to,  109;  influence 
of,  114 

Narrative  satires.  Examples  of,  47- 


Naturalism,  in  Pilgrim's  Progress, 
123  ;  of  Defoe,   135 

Nature's  Paradox,  174 

Nature's  Pictures  drawn  by  Fancie's 
Pencil  (Duchess  of  Newcastle), 
92;    176 

Neapolitan,   The,    195 

Neville,  Henry,  The  Isle  of  Pines, 
169 

New  Atalantis,  The  (Mrs.  Manley), 
in  form  an  ideal  commonwealth, 
19;  origin  of  title,  20;  a  secret 
memoir,  60,  85,  86  ;  motivation  of 
characters  in.  87-88;  211 

New  Atlantis  (Sir  Francis  Bacon), 
20  ;  163 

New  Quevedo,  The,  48 

New  Version  of  the  Lady  Gr — s 
concerning  her  sister,  the  lady 
Berkeley,    194 

Newcastle,  Margaret,  Duchess  of. 
Influence  of  heroic  romance  on, 
35-36 ;  characterized,  91  ;  The 
World's  Olio,  91-92 ;  Nature's 
Pictures  drawn  by  Fancie's  Pencil, 
92,  176;  The  CCXI  Sociable  Let- 
ters, 92-93,  179;  The  Biasing 
World,  23,  36,  93  ;  Biography  of 
the  Duke  of  Newcastle,  93 ;  Auto- 
biography, 93 ;  Description  of  a 
New  World,  178 

News-narratives,  sensational.  Ex- 
amples of,  119 

Nissena,   175 

Northern   Worthies,  The,  227 

Notorious  Imposter,   The,  203 

Novae  Solymae  Libri  Sex,  25,  172 

Novel,  The,  Distinction  between, 
and  romance,  50-51  ;  and  history, 
51  ;  Italian  Novelle,  51-52  ;  of  the 
Cloak  and  Sword.  52-55  ;  histori- 
cal, 55-59 ;  veiled  histories,  59- 
60  ;  pseudo-journals,  etc.,  60-62  ; 
of  manners,  62-66 ;  narrative 
comedies,  66-70 ;  the  Portuguese 
letters,    70-75 ;    works    of    Aphra 


264 


Bchn,  75-85  ;  works  of  Mary  de 
la  R.  Manley,  85-88 ;  transition 
in  taste  and  ideals  of  conduct,  89  ; 
social  treatises,  89-91  ;  Duchess 
of  Newcastle,  91-93 ;  Mrs.  Eliz. 
Rowe,  93-95  ;  periodicals,  95  ;  the 
"  character,"  96  ;  the  dialogue,  97  ; 
Mrs.  Haywood,  98-103;  Mrs. 
Barker,  103-6  ;  Mrs.  Aubin,  106- 
8;  occasional  pieces,  108-10;  the 
oriental  tale,  iio-ii;  the  fable, 
111-12;  the  apologue,  112-13;  the 
educative  treatise,  113;  summary 
of  development,  1 700-1 740,  113- 
14;  contrasted  with  romance  of 
chivalry,  116 

Novel  of  incident.  Influence  of  ori- 
ental tales  on  the,  iii  ;  influence 
of  fable  on  the,   113 

Novel  of  intrique.  Picaresque  ma- 
terial in,  46 ;  favorite  type  with 
Mrs.  Haywood,  98 ;  and  apologue, 
112;  rarely  vulgarized,  116 

Novel  of  manners.  Beginnings  of, 
in  England,  1-2 ;  Etiphues  the 
first,  17;  contribution  of  anti- 
romances  to,  48 ;  signs  of  de- 
velopment of,  49  ;  the  Italian  and 
French,  62-63  ;  Virtue  Rewarded, 
63  ;  Adventures  of  the  Helvetian 
Hero,  63-64 ;  The  Unhappy  Lov- 
ers, 64-65  ;  the  idealistic,  65-66  ; 
and  social  treatises,  90 ;  by  Mrs. 
Haywood,  loi  ;  and  popular  his- 
tory combined  by  Mrs.  Aubin,  106  ; 
influence  of  fable  and  apologue 
on,  113;  contribution  of  Defoe  to, 
134-35  ;    rapid    rise    of,    137 

Novels  of  the  Cloak  and  Sword,  52- 
55  ;  characteristic  features  of  plot, 
52-53 ;  French  and  Spanish  ex- 
amples, 53  ;  Triana,  53-54  ;  The 
Player's  Tragedy,  54  ;  The  Broth- 
ers, 55  ;  by  Mrs.  Behn,  83-84 ;  by 
Mrs.  Haywood,  99 ;  History  of 
John  of  Bourbon,  219 


Novelle,  in  17th  century,  51-52; 
secret  histories  similar  to,  60; 
characteristics  of  Italian  and 
French,  62-63  ;  narrative  comedies 
similar  to,  66  ;  center  of  interest 
in,  98;  in  collections,  113;  super- 
seded romances,   136 

Novels  of  Don  Qxtevedo  Villegas, 
209 

Novels   of  Elisabeth,   192 

Novels  of  G.  F.  Loredano,  194 

Novels  of  Scarron,   177 

Obliging  Mistress,  The,  190 
Occasional  and  anonymous  pieces, 
108-10;  Unhappy  Lovers,  108; 
Lover's  Secretary,  108 ;  Double 
Captive,  109 ;  The  Distressed 
Orphan,  109-10;  Alexis  and 
Sylvia,  no;  The  Unnatural 
Mother,  no;  Le  Paysan  Parvenu, 
La  Vie  de  Marianne,  no 
Ollenix    du    Mont-Sacre,    The    Pas- 

toralls  of  Julietta,  37,   156 
Oriental   fabliaux,  Source  of,  8 
Oriental   Tale,   Examples  and   influ- 
ence of  the,  III 
Oriental    Tale    in   England    (M.    P. 

Conant),    in 
Oriental    Tales    in    periodicals,    95 ; 

by  Mrs.  Haywood,  99 
Orinda,   Circle   of  the   "  matchless," 

90 
Oroonoko,  see  History  of  the  Royal 

Slave 
Orphan,  The  (Otway),  58,  74 
Osborne,  Dorothy,  on  translations  of 
Polexander   and   L'illustre   Bassa, 
32  ;  on  Parthenissa,  34,  35 
Ottoman  Gallantries,  199 
Otway,  The  Orphan,  58,  74 
Overthrow     of     Capts.     Ward     and 
Daneke,  The,  233 

Padlock  (Mrs.  Haywood),  loi 
Painter's  Palace  of  Pleasure,  source 


265 


of  some  of  Mrs.  Manley's  stories, 
87 
Palmeryn    d'Olivia   popular   Spanish 

romance,   5 
Palmeryn     of     England     translated 

from  Spanish,  5 
Pamela     (Richardson),     source     of 
name,   15;  moral  purpose  in,  90; 
Moll     Flanders     similar     to,     130, 
233 
Pandion     and     Amphigenia      (John 

Crowne),   33,  40,   179 
Pantaleonis     Vaticinia,    The     (John 

Hume),    10,   47,   165 
Pantlialia,  25,  33,  178 
Paris  and   Vienne,  4 
Parthenissa    (Roger   Boyle),    33-34; 

175  ;  see  Appendix  "  A  " 
Pastor  alls  of  Julie  tta.   The,  37,   156 
Pastorals  in  early   i6th  century,   37 
Patchwork  Screen  for  the  Ladies,  A 

(Mrs.  Barker),   105,   221 
Pathway  to  Peace,  The,  118,  170 
Patronage    system.    Breaking    down 

of  the,  2 
Paysan    Parvenu,    Le     (Marivaux), 

no,  232 
Penault,  P.  de  Moulin  F.,  The  Devil 

of  Mascon,  177 
Peppa,  201 
Pepys,  Mrs.,  Fondness  of,  for  heroic 

romances,   36 
"  Perfect   courtier,"   in   Arcadia,   14, 

in  Euphues,   17 
Perfidious  Brethren,  The,  217 
Periodicals,      Contribution      of,      to 

novel,  95  ;    137 
Perplexed    Prince,    The,    59,     ii7n, 

194 
Perplex' d  Princess,  The,   195 
Persian  and  Turkish  Tales,  in,  214 
Persian  Anecdotes,  228 
Persian  Letters  by  C.  de  Secondat, 

228 
Personal  element  in   works  of  Mrs. 
Behn,  84-85 


Personal  slander  in  biographical 
narratives,  61-62  ;  in  works  of 
Mrs.  Manley,  85 

Petronius  Arbiter,  Satyricon,  9-10 

Pharaniond  (La  Calprenede),  33,  188 

Pharonnida  (P.  Chamberlayne),  30, 
33 

Philips,  Mrs.  Catherine,  Literary 
coterie  of,  35-36,  103 

Phillips,  John,  translator  of  Alma- 
hide  and  Pharaniond,  33  ;  of  Don 
Quixote,  44.  158 

Philosophus  Autodidactus,  sive  Epis- 
tola  Abu  Jaafar  Ebn  Tophail, 
ii3n,    183 

Picara,  La,  180 

Picaresque  Miscellanies,  described, 
45 ;  examples  of,  45-47 ;  decline 
of,  47,  48;  condensations  of,  116 

Picaresque  narratives  influenced  by 
Satyricon,  10 

Picaresque  novels,   Examples  of,   53 

Picaresque  stories  in  periodicals,  95 

Pilgrims,  The,  192 

Pilgrim  of  Casteel,  The,  162 

Pilgrim's  Progress  (John  Bunyan), 
not  a  literary  romance,  27;  121- 
24;  sources  of,  121-22,  as  a  nar- 
rative, 122-23;  episode  of  Mrs. 
Brisk  and  Mercy  quoted,  123-24; 
Matthew's  illness  quoted,  124; 
popularity  of,   125-26;   190 

Pilgrim's  Progress  from  Quakerism 
to  Christianity,  207 

Plaine  Man's  Pathzvay  to  Heaven, 
The  (A.  Dent),  118,  121,  171 

Plantin,  Mrs.  Arabella,  The  Ungrate- 
ful, 112,  225;  Love  Led  Astray, 
112,   225 

Player's  Tragedy,  54,  204 

Plays  founded  on  episodes  in  the 
romances.  36 

Pleasant  Companion,  The,  or  Wit  in 
all  Shapes,  52  ;  230 

Pleasant  Novel,  A,   190 

Plot  in  Zelinde,  39 ;  in  Cynthia,  42  ; 


266 


in  novels  of  manners,  65  ;  essen- 
tial feature  of  narrative,  95  ;  in 
Roxana,  131  ;  development  of,  137 

Plots  in  English  miscellaneous  ro- 
mances, 39 

Poetical  Recreations  (Mrs.  Barker), 
103-4 

Poetical  Works  of  Philip,  late  duke 
of  Wharton,  Fables  in,  112;  225 

Polexandre  (Gomberville),  28  ;  trans- 
lations of,  32-33 ;  171 

Polite  Conversation  (Swift),  97 

Political  Romances,  see  Ideal  Com- 
monwealths 

Political  significance  in  popular  his- 
tories, ii7n 

Political  tract,  The,  119 

Politics  in  secret  histories,  59 ;  in 
pseudo-biographies,  and  memoirs, 
61 

Polyandre   (Sorel),   44 

Pope,  W.,  The  Memoirs  of  Mon- 
sieur Du  Vail,  182 

Popular  fiction  distinct  from  liter- 
ary, 1-2 ;  had  no  merit,  2 ;  dis- 
cussed, 1 1 5-21;  variety  of  types 
of,  115  ;  vulgar  redactions  of  aris- 
tocratic fiction,  1 1 5-1 6;  legends, 
folk-tales  and  historical  anecdotes, 
116-17;  histories  of  popular 
heroes,  117;  moral  and  religious 
tracts,  118;  news-narratives,  119; 
popular  love  stories,  119-20; 
Amanda,  119-20;  Love  in  a  Pas- 
sion without  Discretion,  119  ;  rela- 
tion of  Richardson  to,  120;  do- 
mestic tragedies,  120-21 

Popular  heroes,  Tales  of,  117 

Pordage,  Samuel,  Eliana,  40,  175 

Portents,  features  in  Cynthia,  42 

Portraicture  of  the  Nine  Worthies 
of  the  World,  162 

Portuguese  Letters,  The,  See  Letters 
of  a  Portuguese  Nun 

Possession  and  Conversion  of  a 
penitent,  159 


Power  of  Love  in  Seven  Novels 
(Mrs.  Manley),  52,  86,  87,  217 

Practises  of  Elizabeth  Caldwell,  156 

Prevost,  Abbe,  imitator  of  Defoe, 
134 

Prince  d' Amour,  Le,  178 

Princess  de  Cleves  (Mme.  de  La 
Fayette),  55  ;  200 

Princess  of  Ijaveo  (Mrs.  Haywood), 
99,  102,  231 

Princess  of  Montferrat,  193 

Prior,  M.,  Dialogues  of  the  Dead\,  97 

Progress  of  a  Rake,  The,  229 

Prose  and  poetry.  Little  distinction 
between,  29-30 

Prose  fiction.  Influence  of  Defoe  on, 
134-35 

Proverb  literature.  Dykes'  Good 
Manners  for  Schools,   11 2-1 3 

Pseudo-histories  of  Mrs.  Haywood, 
98-99 

Pseudo-letter,  Vogue  of,  75 ;  de- 
vice in  social  treatises,  90 

Pseudo-memoirs,  Characteristics  of, 
and  examples,  60-62 ;  value  of, 
62  ;  by  Mrs.  Manley,  85-86 

Psittacorutn  Regio,  20;  181 

Psyche,  226 

Queen  Elizabeth,  heroine  of  histori- 
cal novels,  56 

Quevedo-Villegas,  Visions  and  Dis- 
courses of,  translated  by  L'Es- 
trange,  48 

Ramble,  The,  47,  228 

Rash  Resolve,  The  (Mrs.  Haywood), 
99,  220 

Reading  public,  Change  in,  2 

Realism  in  heroic  romance,  31  ; 
growth  of,  in  romances,  49 ;  in 
the  Portuguese  Letters,  72,  114; 
in  The  Fair  Jilt,  83  ;  in  Duchess 
of  Newcastle's  Works,  93  ;  in  Mrs. 
Aubin's  works,  106  ;  in  The  Un- 
natural  Mother,    110;    in   oriental 


267 


tales,   III  ;  in  popular  redactions, 
1 16;     in     Bunyan's     works,     122; 
growth  of  taste  for,   136 
Redactions,     Vulgar,     of    romances, 

115-16,  value  of,  116 
Reeve,  Clara,  translator  of  Barclay's 

Argents,  25 
Reformed  Coquet,  The  (Mrs.  Davys), 

70,  220 
Reformed  Spaniard,  The,  161 
Reformer,  The   (E.  Ward),  48,  207 
Relation  of  the  Country  of  the  Jan- 
senia  never  till  now  described,  181 
Religious  Courtship  (Daniel  Defoe), 

90,   133-34,   219 
Religious  tracts.  Examples  of,  118 
Revengeful  Mistress,  The,  205 
Revived  Fugitive,   The,  202 
Reynolds,     John,     The     Flower     of 
Fidelitie,  26,   172;  God's  Revenge 
against  Murder,  26,   162 
Richardson,  Samuel,  Reflective  point 
of  view   in,    12;   source   of   name 
Pamela,    15;    and    Lyly,    17;    imi- 
tated by  Mrs.  Haywood,  99  ;  his- 
tories of,  combine  novel  and  ro- 
mance,   116;    relation    to    popular 
fiction,     120 ;    Pamela    or    Virtue 
Rewarded,      233 ;      progress      of 
novel  toward,   137 
Rival  Mother,   The,   narrative   com- 
edy, 70,  203 
Rival  Princesses,  The,  202 
Robinson    Crusoe    (Daniel    Defoe), 
imitated  by  Mrs.  Aubin,  106;  the 
character  of  the  hero,  128  ;  second 
part,  128-29;  didacticism  in,  129; 

215 

Rogue,  The,  or  the  Life  of  Gusman 

de   Alfarache,    162 
Rohde   on   Ethiopian   History,    11 
Rolls  series.  Origin  of,  113 
Roman   Bourgeois,    Le    (Furetiere), 

44,   47n 
Roman  Histories  of  Florus,  160 
Romance     recognized     as     literary 


form,  29 ;  influence  of  oriental 
tale  on,  iii 

Romance  of  Cassandre,  33,   173 

Romance  of  Tarsis  and  Zclie,   196 

Romances,  1-49  ;  Imitations  of  con- 
tinental models,  3  ;  chivalric,  3-7  ; 
classical,  7-14;  arcadian,  14-16; 
euphuistic,  17-18;  political  and 
allegorical,  18-27  ;  heroic,  27-37  ; 
miscellaneous,  37-43  ;  anti-roman- 
ces, 43-49  ;  defined  by  Congreve, 
50-51;  redactions  of,  11 5-1 6;  of 
France  made  English,  136 

Romanticism  in  oriental  tales,   iii 

Rosalinda,  229-30 

Rover,  The,  2i3n 

Rowe,  Mrs.  Elizabeth,  on  the  ro- 
mances, 43 ;  exponent  of  senti- 
mental piety,  93-94;  Friendship 
in  Death,  93,  94,  226 ;  Letters 
Moral  and  Entertaining,  90,  93- 
94,  227 ;  other  works  and  popu- 
larity of,  94-95 

Rowlands,  Samuel,  Greene's  Ghost 
Haunting,  Conie-Catchers,  155 

Roxana,  see  The  Fortunate  Mistress, 

Royal  Loves,  193 

Royal  Shepherdess,  The,  226 

Sacchetti,   8 

Sad  and  Lamentable  News  from 
Rumford,  185 

Sadeur,  Jacques,  New  Discourse  of 
Terra  Incognita  Australis,  203 

Sadler,  John,  Olbia,  2311,   178 

Sadler,  T.,  Confessions  and  Exe- 
cution of  the  five  prisoners  suf- 
fering at  Tyburn,  188 

St.   Theodora,   Life   of,   8 

Satire,  in  ideal  commonwealths,  19  ; 
in  Gulliver's  Travels,  21  ;  in  Tale 
of  a  Tub,  22  ;  adoption  of  letter 
as  a  form  for,   74 

Satyricon  (Petronius  Arbiter),  9- 
10;  47,   179 


268 


Scandal  in  secret  histories,  59,  60  ; 
in   pseudo-memoirs,   61 

Scarborough  Miscellany,  The,  229 

Scarron,  Le  Roman  Comique,  44; 
humor  of,  45 

Scarron's  Comical  Romance,  44,  186 

School  of  Slovenrie,  The,  156 

Scipion,   178 

Scott,  Sir  Walter,  on  Gulliver's 
Travels,  21 

Scudery,  Mile,  de,  Text  of,  cut  by 
translators,  32 ;  heroic  conversa- 
tions of,  33  ;  influence  on  English 
fiction,  36-37  ;  Moorish  setting  in 
Almahide,  37 

Scuderys,  The,  Heroic  romances  of, 
27 ;  Grand  Cyrus,  Almahide, 
Clelie,  28 

Second-Sighted   Highlander,   2130 

Secret  History  of  Mama  Oello,  230 

Secret  History  of  Miss  Betty  Ire- 
land, 207 

Secret  History  of  Queen  Zarah  and 
the  Zarazians  (Mrs.  Manley),  59, 
8s,  208 

Secret  History  of  the  Court  of  the 
Emperor  Justinian,   185 

Secret  History  of  the  Duke  of 
Alangon  and  Queen  Elizabeth, 
203 

Secret  History  of  the  House  of 
Medici,   198 

Secret  History  of  the  Present  In- 
trigues of  the  Court  of  Cara- 
mania  (Mrs.  Haywood),  99,  225 

Secret  History  of  the  Prince  of  the 
Nazarenes  and  two   Turks,   217 

Secret  Memoirs   of  Bar-le-duc,   214 

Secret  Memoirs  of  Robert  Dudley, 
Earl  of  Leicester,  208 

Secret  Services  of  M.  de  Vernay, 
194 

Select  Collection  of  Novels,  219 

Select  Dialogues  of  Lucian,  165 

Select  Discourses  out  of  the  most 
eminent  Wits  of  France  and  Italy, 


Self-analysis,  popular,  72,  increas- 
ing interest   in,    114 

Sentiment,  in  heroic  romance,  29, 
31  ;  cult  of,  73  ;  growth  of,  shown 
in  Mrs.  Haywood's  works,  103 

Sentimentalism,  in  heroic  romances, 
37;  popular,  72;  in  oriental  tales, 
III  ;    revival  of,    114 

Settle's  Fatal  Love,  13 

Seven  Champions  of  Christendom, 
The,  4 

Seven  Years  Slavery  under  the 
Turks  of  Algeres,   170 

Shelton  translated  Don  Quixote,  44, 
158 

Sicilian  Tyrant,  The,   187 

Siden,  Capt.,  History  of  the  Seva- 
rites  of  Severambi,   186 

Sidney,  Sir  Philip,  Arcadia,  14-16; 
contrasted   with   Lyly,    17 

Siegel,    P.,    on    Aphra    Behn,    75 

Simplicissimus,   200 

Sir  Roger  de  Coverly  Papers,  95  ; 
culmination  of  character-sketch, 
137 

Skimmer,  The,  231 

Smith,  Alexander,  Lives  and  Rob- 
beries of  the  most  notorious  High- 
waymen, 213  ;  Secret  History  of 
the  Loves  of  the  most  celebrated 
Beauties,  214.;  Comical  and  Tragi- 
cal History  of  the  Lives  and  Ad- 
ventures of  the  most  noted  Bay- 
liffs,  219  ;  Memoirs  of  Life  and 
Times  of  Jonathan  Wilde,  224 

Social  treatises,  89-91,  examples  of, 
90-91 

Some  Remarkable  Passages  in  the 
Life  of  a  Private  Gentleman,  210 

Sonne  of  the  Rogue,  The,  46,  168 

Sorel,  Le  Berger  Extravagant,  44 ; 
Polyandre,  44;  Histoire  Comique 
de  Francion,  44 

Spanish  cycles  in  chivalric  roman- 
ces,   5-7 

Spanish  Decameron,   53,    200 


Spanish  Gallant  of  DaiUisso,  The, 
169 

Spanish  intrigue  and  contemporary 
manners  combined  in  English 
novels,  63 

Spanish  Mandcville  of  Myracles, 
160 

Spanish  novels  of  cloak  and  sword, 
Cynthia  resembles  the,  42  ;  52-53  ; 
114 

Spanish  setting  in  17th  century  ro- 
mances,  41 

Spectator,  The,  Character  sketches 
in,  48,  96 ;  social  treatises  in,  90  ; 
moral  themes  in,  95 ;  oriental 
tales  in,  iii  ;  apologues  in,  112 

Spence,   Ferrand,  translator,   39 

Stage-coach  Journey  to  Exeter 
(Mrs.    Manley),   86,   223 

Stanglmaier,  Karl,  Mrs.  Jane  Barker, 
i03n 

Stanhope,  H.,  The  Fortunate  and 
Unfortunate  Lovers,  231 

Steele,  Richard,  Writings  of,  ex- 
press ideal  of  the  age,  95 

Stock  themes  in  Mrs.  Rowe's  works, 
94 

Strange  Adventures  of  the  Count 
Vinevil  and  his  family,  106,  io7n, 
218 

Strange  Apparition  which  appeared 
to  Lady  Grey,  194 

Strange  Example  of  God's  Judg- 
ment, 171 

Strangements ;  news  from  the  land 
of  Chivalry,   193 

Strangest  Adventure,  The  . . .  Con- 
taining a  discourse  of  Dom  Se- 
bastian,   154 

Structure,  in  Greek  romances,  12; 
development  of,   137 

Style,  in  Greek  romances,  13, 
Swift's  22 ;  in  heroic  romances, 
28 ;  in  miscellaneous  romances, 
40 ;  in  Novelle,  63  ;  in  novels  of 
manners,    65-66 ;    in    The   Gener- 


ous Rivals,  69  ;  Mrs.  Behn's,  79, 
84-85 ;  in  dialogues,  97 ;  influ- 
ence of  fable  and  apologue  on, 
113;  Bunyan's  123;  Defoe's  127, 
134;  progress  in  development  of, 
137 

Sufferings  and  Death  of  the  Faith- 
ful, 208 

Supernatural,  The,  in  news-narra- 
tives, 119  ;  in  Defoe,  132 

Surprise,  The  (Mrs.  Haywood), 
102,  223 

Surprise  and  suspense  in  Greek  ro- 
mances, 12,  30 

Swift,  Jonathan,  Gulliver's  Travels, 
21-22,  224,  225n ;  Tale  of  a  Tub, 
22 ;  influence  on  fiction,  22-23 ; 
Polite  Conversations,  22,  97 ;  on 
Mrs.  Haywood,  98 

Symmons,  Mrs.,  The  Whimsical 
Lovers,   223 

Table   of   Cebes,   the   Theban,    159 

Tachmas,  Prince  of  Persia,  iii,  187 

Taffy's  Progress  to  London,  209 

Tale  of  a   Tub   (J.   Swift),  22 

Tarsus  and  Zelie,  226 

Tatler,  The,  Social  treatises  in,  90  ; 
moral  themes  in,  95  ;  character 
sketch  in,  96 

Taxila,  41  ;   203 

Tea-Table,  The  (Mrs.  Haywood), 
novels  in  embryo  in,  90 ;  moral 
themes  in,  95 ;  sentimentality 
criticized,  102-3 

Teixeira,  Jose,  Strangest  Adven- 
ture... of  Dom   Sebastien,    154 

Thcagenes  and  Chariclea  similar  to 
modern   novel,   14 

Theopolis  or  the  City   of  God,   183 

Timberlake.  Henry,  True  and 
Strange  Discourse  of  the  Travails 
of  tzvo  English  Pilgrims,   155 

Title  pages,  Mrs.  Aubin's  descrip- 
tive,  i07n 


270 


Toland,  John,  Description  of  Epsom 

in   a   Letter   to   Eudoxia,   47,   212 
Tom  of  Lincoln,  4,  ^57 
Tragi-comical  History  of  Alexander 

and  Angelica,   169 
Tragi-comical  History  of  Our  Times 

under    the    Borrozfed    Names    of 

Lisander  and  Calista,  59,  166 
Tragical   History    of    the    Chevalier 

du     Vaudray    and    the    Countess 

Vergi,  231 
Tragical  History  of  Two  Illustrious 

Families,  187 
Tragicke    Loves    of    Hippolito    and 

Isabella,    164 
Travels    and    Adventures    of    three 

Princes  of  Sarendip,  219 
Travels      of      Don     Francesco      de 

Quevedo  Through  Terra  Australis 

Incognita,    20,    197 
Travels  of  Love  and  Jealousy,   204 
Travels  of  Persiles  and  Sigismunda, 

160 
Treasurie  of  Amadis   of  Gaule    (H. 

Bynnerman)     5 ;     one    source    of 

Arcadia,   14 
Trepan,  The,  176 
Triana,  53-54;   i/S 
Trip  through  the  Town,  A,  231 
Triumph     of    Friendship     and     the 

Force  of  Love,  197 
Triumph  of  Love  over  Fortune,  190 
Troubled-spirited   Man's    Departing, 

166 
Troublesome   and  Hard  Adventures 

in  Love,  174 
Tryal   of  Mrs.   Mary   Carleton,    179 
Turkish  Tales,  210 
Two    Journals;    the    first    kept    by 

seven  sailors  in  Greenland,  229 
Two  Lancashire  Lovers,  The,  170 
Tyburn   Calendar,   The,   207 

Unequal  Match,  The,   194 
Unexpected  Choice,  The,   182 
Unfortunate  Court  Favorites  of  Eng- 
land, 204 


Unfortunate   Duchess,    The,   232 
Unfortunate  Lovers,   The,  207 
Unfortunate  Politique,   The,   168 
Ungrateful,  The  (Mrs.  Plantin),  112 
Unhappie  Prosperity,   165 
Unhappy  Lovers,   The,   or   the  His- 
tory of  James  Welston,  108,  229 
Unhappy   Lovers;   or   the   Timorous 
Fair    One,    Story    of    the,    64-65 ; 
204 
Unhappy  Loves  of  Herod  and  Mari- 

amne.   The,    221 
Unity     of     narrative     in     Robinson 

Crusoe,    129 
Unlucky  Citizen  (Kirkman),  46,  18^ 
Unnatural  Mother,  The,  no,  231 
Unsatisfied   Lovers,    The,    196 
Urfe,    Honore    d',   Astree,   28 ;    pat- 
terned after  Heliodorus,  29 
Utopia   (Sir  Thomas  More),  19-20 
Utter,   Robt.   P.,   on   Euphxies,    17 

Vain  Prodigal  Life  and  . . .  Death  of 
Th.  Hellier  the  Murderer,   193 

Valentine  and  Orson,  4 

Vane,  Henry,  A  Pilgrimage  into  the 
Land  of  Promise,  179 

Veiled  histories,  Types  of,  59-60 

"  Vice  punished,"  in  Mrs.  Hay- 
wood's novels,  loi  ;  in  Mrs.  Au- 
bin's,   106-7 

Viceroy   of   Catalonia,    190 

Vie  de  Marianne,  La  (Marivaux), 
no,   232 

Villegas,    see    Quevedo-Villegas 

Vincentio    and   Margaret,    156 

Virtue  and  vice,  Struggle  between, 
no 

Virtue,  Reward  of  in  Mrs.  Barker's 
Capt.  Manley,  105-6  ;  in  narratives 
of  Mrs.  Aubin,  106;  in  histories 
of  popular  heroes,   117 

Virtue  Rezvarded,  63,  204 

"  Virtue  rewarded,"  in  heroic  ro- 
mances, 31  ;  in  Mrs.  Haywood's 
novels,  loi  ;  in  Mrs.  Aubin's,  106- 
7;  in  popular  love  story,  120 


271 


Visions    and    discourses    (Quevedo- 

Villegas),   48 
Visions  of  Don  Francisco  de  Queve- 

do  y  Villegas,  180 
Voiture,  Alcidalis  and  Zclide,  39 
"  Voyage  imaginaire,"  one   form  of 

ideal    commonwealth,    19,    23 ;    in 

allegorical  romances,  27 
Voyage   of   the    Wandering   Knight, 

n8 
Voyages    and    Adventures    of    Capt. 

Robert  Boyle,  223 
Voyages  of  Cyrus,   The,   113,   228 

Waldberg,  von,  on  writing  "  a  la 
Portugaise,"  73 

Wandering    Whore,    The,    179 

Wanton   Fryer,   The,   202 

Ward,  E.,  A  Frolic  to  Horn  Fair, 
206 ;  The  Reformer,  48,  207 ; 
The  London  Spy  Compleat,  48, 
207 

Weames,  Mrs.  Anna,  Continuation 
of  Sir  Philip  Sidney's  Arcadia, 
172 

Weaver,  T,,  Plantagenet's  Tragicall 
Story,   172 

Webster,  W.,  Plain  Man's  Pilgrim- 
age, 159 

Westward  for  Smelts,   161 

Wharey,  James  B.,  A  Study  of  the 
Sources  of  John  Bunyan's  Alle- 
gories, i2in 


When  Knighthood  was  in  Flower, 
57 

Whimsical  Apothecary,  The,  233 

Whittell,  Robert,  Way  to  the  Celes- 
tial Paradise,   161 

Whole  Comical  Works  of  Monsr. 
Scarron,    207 

Whole  Life  of  Granny,  The.  212 

Wife  for  a  Husband  and  a  Hus- 
band for  a  Wife,  191 

Winter  Evening  Tales,  52,   113,  229 

Wit  and  Fancy  in  a  Maze,  by  S. 
Holland,   45 

Witty  Jests  and  Mad  Pranks  of 
John  Frith  zvith  Capt.  James,  185 

Witty    Rogue   Arraigned,    The,    176 

Wonderful  Accident  which  occurred 
upon  the  Execution  of  a  Christian 
slave  at  Aleppo,  187 

Works  of  Rabelias,  i75 

World's  Olio,  The  (Duchess  of 
Newcastle),   91-92 

Wroth,  Lady  Mary,  Countess  of 
Montgomery's  Urania,  16  ;  161 

Xenophon's    Ephesian   History,    226 

Zayde,   190 

Zelinde   burlesque   of  Alcidalis   and 

Zelide,     39 ;     digression     in,     68 ; 

187 


272 


VITA 

Charlotte  Elizabeth  Morgan  was  born  in  Brooklyn,  New 
York,  on  March  20,  1882.  She  received  her  elementary  edu- 
cation in  the  public  schools  of  that  city  and  in  the  Pratt  Insti- 
tute High  School  from  which  she  was  graduated  in  June, 
1900.  In  the  fall  of  that  year  she  entered  Barnard  College, 
and  received  the  degree  of  A.B.  in  1904.  During  the  ensuing 
year  she  was  a  student  in  the  Graduate  School  of  Columbia 
University,  and  received  the  Master's  degree  in  1905.  In  the 
following  September,  she  matriculated  at  Radcliffe  College, 
which  conferred  the  degree  of  A.M.  in  June,  1906.  From  1906 
to  1910  she  was  in  residence  at  Columbia  University.  During 
the  winter  1910-11,  she  has  been  acting  Head  of  the  depart- 
ment of  English  of  Rockford  College. 


14  DAY  USE 

RI    RETURN  TO  DESK  FROM  WHICH  BORROWED 

14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED     q, 

LOAN  DEPT. 

RENEWALS  ONLY— TEL.  NO.  642-3405  

This  book  is  due  on  the  last  date  stamped  below,  or 

otx  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recalL 


BECDLD    OCT 


lfiY28 


REU'D  LD    MAY  \ 


NOV  1 9  Wi 


^ 


gv*- 


-^ 


JAN    8  19BB 


fWORC  DEC  2  3  1985 


6/0 -SP"^^     _U) 

1972  2  9  ~'-^'-^ 


7  7?.  -5  PM  6  6    ^ 


P^ 


t^;i 


LD21A-60m-3,'70 
(N5382sl0)476-A-32 


General  Library 

University  of  California 

Berkeley 


GENERAL  LIBRARY    U.C.  BERKELEY 


B0D012a7b3 


22881:5 


rs^"  •  ?*"^->C 


p^HH 

l^^^^^^l 

Em  sPI 

In  IH^^^^^^I 

^■ii^,i;;w:^'::<,vx:;i'.i: 

!  1  1  1  ii  i  !  iiiV  SUU^^^^^^^^^^^^^I 

■iiiii^ 

!i     nil  llll^^^^^^^^^^l 

^^HSii^ 

HHg^^^^H 

nil-'" 


ill 
IL 


